Modern Paintings
Collection of
George I. Seney
The American Art Galleries
New York
«*& IJW
LIBRARY OF THE
John G. Johnson Collection
CITY OF PHILADELPHIA
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Digitized by the Internet Archive
in 2012 with funding from
LYRASIS Members and Sloan Foundation
http://archive.org/details/ofmrgeoOOamer
CATALOGUE
OF
MR. GEORGE I. SENEY'S
IMPORTANT COLLECTION OF
MODERN PAINTINGS
TO BE SOLD BY AUCTION, ABSOLUTELY WITHOUT
RESERVE
On Wednesday, Thursday and Friday
February iith, 12TH and i^th
AT HALF-PAST SEVEN O'CLOCK P.M.
IN THE ASSEMBLY ROOM
OF THE
MADISON SQUARE GARDEN BUILDING
THE PAINTINGS WILL BE
ON EXHIBITION DAY AND EVENING
AT THE AMERICAN ART GALLERIES
6 East 23D Street, Madison Square South
FROM JANUARY 28TH UNTIL DATE OF SALE INCLUSIVE
AMERICAN ART ASSOCIATION, MANAGERS
Thomas E. Kirby, Auctioneer
NEW YORK
1891
SPECIAL NOTICE
Wt DMISSION to the Assembly Room on Night of Sale will be
by Card only (no reserved seats). These Cards will be
ready for distribution on Thursday, February 5th. Application for
them should be made by letter. Address
AMERICAN ART ASSOCIATION, Managers,
6 East 23d Street, Madison Square South.
Copyright, 1891, by
The American Art Association, New York
Press of J. J. Little & Co.
Astor Place, New York
ORDERS TO PURCHASE
T
HE UNDERSIGNED will receive orders to purchase at this
Sale:
Messrs. M. KNOEDLER & CO., Goupil Galleries,
Fifth Avenue and 22d Street
L. CRIST DELMONICO(Kohn'sArt Rooms), No. 166 Fifth Avenue
M. DURAND-RUEL, . . . .No. 297 Fifth Avenue
S. P. AVERY, Jr., . . . . No. 568 Fifth Avenue
WM. SCHAUS, No. 204 Fifth Avenue
Messrs. BOUSSOD, VALADON & CO., . No. 503 Fifth Avenue
Messrs. BLAKESLEE & CO., . . Fifth Avenue and 20th Street
Messrs. REICHARD & CO.,
AMERICAN ART ASSOCIATION, .
S. M. VOSE, ....
Messrs. DOLL & RICHARDS, .
Messrs. WILLIAMS & EVERETT,
Messrs. NOYES & CO., .
J. EASTMAN CHASE, .
Messrs. JAMES S. EARLE & SONS,
Messrs. MEYER & HEDIAN,
W. S. THURBER, .
Messrs. REDHEFFER & KOCH, .
No. 226 Fifth Avenue
No. 6 East 2;d Street
Providence
. Boston
Boston
. Boston
Boston
. Philadelphia
. Baltimore
Chicago
St. Louis
Hartford
Messrs. A. D. VORCE & CO.,
JAMES D. GILL, Springfield, Mass.
I. MONTAIGNAC, 9 Rue Caumartin, Paris
CONDITIONS OF SALE
i . The highest Bidder to be the Buyer, and if any dispute arise
between two or more B'dders, the Lot so in dispute shall be immedi-
ately put up again and resold.
2. The Purchasers to give their names and addresses, and to pay
down a cash deposit, or the whole of the Purchase-money, if required,
in default of which the Lot or Lots so purchased to be immediately
put up again and re-sold.
3. The Lots to be taken away at the Buyer's expense and Risk
upon the conclusion of the Sale, and the remainder of the pur-
chase-money to be absolutely paid, or otherwise settled for to the
satisfaction of the Auctioneer, on or before delivery ; in default of
which the undersigned will not hold themselves responsible if the Lots
be lost, stolen, damaged, or destroyed, but they will be left at the sole
risk of the Purchaser.
4. The sale of any Article is not to be set aside on
account of any error in the description, or imperfection.
All articles are exposed for Public Exhibition one or more
days, and are sold just as they are without recourse.
5. To prevent inaccuracy in delivery and inconvenience in the
settlement of the purchases, no Lot can, on any account, be removed
during the Sale.
6. Upon failure to comply with the above conditions, the money
deposited in part payment shall be forfeited; all Lots uncleared within
three days from conclusion of Sale shall be re-sold by public or private
Sale, without further notice, and the deficiency (if any) attending such
re-sale shall be made good by the defaulter at this Sale, together with
all charges attending the same. This Condition is without prejudice
to the right of the Auctioneer to enforce the contract made at this Sale,
without such re-sale, if he thinks fit.
THOS. E. KIRBY, Auctioneer.
ARTISTS REPRESENTED.
FOREIGN.
Artz,
Defregger,
Israels,
Pettenkofen,
Benlliuie,
Delacroix,
Jacque,
Pokitanow,
Billet,
Demont-Breton,
Jacquet,
Quadrone,
Boldini,
De Neuville,
Knaus,
Renouf,
Bonheur (Auguste
, Diaz,
Laurens,
Rico.
Bonheur ( Rosa),
Domingo,
Lefebvre,
Roqueplan,
Bouguereau,
Dupre",
L'Hermitte,
Rousseau,
Breton (E.),
Dupre (Juliem,
Lerolle,
Roybet,
Breton (Jules;,
Edelfeldt,
Leys,
Sala,
Burgess (J.B.),
Fortuny,
Lowith,
Salmson,
Cabanel,
Furandez,
Madrazo,
Schreyer,
Cazin,
Frere (E.)i
Mauve,
Stetten,
Charlemont,
Fromentin,
Max,
Stevens (A.),
Clairin,
Gerome,
Meissonier,
Tissot,
Clays,
Grison,
Michel,
Troyon.
Constant,
Harlamoff,
Millet,
Van Marcke,
Corot,
Hebert,
Millais,
Vibert,
Courbet,
Heffner,
Munkacsy,
Villigas.
Couture,
Henner,
Neuhuys,
Vollon,
Dagnan - Bou veret ,
Huguet,
Nicol (E.i,
Zamagois,
Daubigny (C.F.),
Isabey,
Pasini (A.i,
Zeim.
Decamps.
AMERICAN.
Boggs, Davis (C.H.i, Johnson 'Eastman). Picknell,
Boughton, Fuller (George), Jones (H. Bolton >, Stewart (J. L.),
Bridgman (F. A.), Gifford (R. Swain), Knight (Ridgwayi, Tryon,
Caliga, Guy. La Farge (John), Turner (C. Y.),
Chase, Harrison (Alex.), Marr. Ulrich,
CoxeiR. Cleveland). Hovenden, Millet, Wiggins,
Dannat, Inness 'Geo.), Murphy (J. Francis) ,Wyant.
8 THE SENEY COLLECTION.
recognition in the Paris art world, which his subsequent produc-
tions have steadily increased, and while his popularity abroad
has prevented his becoming familiar to the American public, '
such of his works as come to us on rare occasions find the
hearty reception at the hands of our connoisseurs which they
deserve. It is by his water colors rather than his oils, how-
ever, that he has been chiefly represented on this side the At-
lantic.
PAGE
No. J77 Evening 220
BENLLIURE (JOS£) • . . . Rome.
A leading member of the Spanish colony at Rome, Jose Ben-
lliure combines in himself the kindred gifts of the painter and the
sculptor in a high degree. He is a native of Valencia, where he
was born about 1858, and a pupil of Domingo, under whose able
tutorship his talent ripened early into original brilliancy and
strength. He secured his first honors at the Madrid Salon, and
after his settlement in Rome became a popular exhibitor at the
exhibitions of Italy and Germany, whose medals followed that
of his native country. At the Munich Exhibition of 1889 his was
one of the works purchased for the National Art Museum, and
they are received with equal favor in England, where they figure
in the leading private collections. Seiior Benlliure is one of the
artists pensioned by the Spanish government for residence in
Italy, and some of his most successful and ambitious composi-
tions have been executed to the order of the state for the decora-
tion of public edifices. His fine color, spirited technique, and
close appreciation of the picturesque place him among the fore-
most of the bright galaxy of artistic stars who sustain for Span-
ish art to-day the honors won for it by Fortuny.
PAGE
No. 3°2 Christmas Eve . . . . . .289
INDEX AND BIOGRAPHICAL NOTES. 9
BILLET (PIERRE) Paris,
A pupil of Jules Breton, who would never be suspected of his
master from his works — such is Pierre Billet. He is a native of
Cantin, in the Department du Nord, France, and began life as a
manufacturer of beet-root sugar and a distiller of alcohol in
his father's factory. He had a decided talent for art, which he
practised in his leisure ; and Jules Breton, who was a friend of
his family, encouraged him to abandon the trade which was dis-
tasteful to him, and develop his artistic gifts. He accepted the
suggestion, and from his friend and master gained the founda-
tion of his technique. Always independent and self-reliant, he
separated himself from his master as soon as he found himself
insensibly falling into an imitation of his manner, and from
that period had no instructor but practice and his own common
sense. The wisdom of his decision was soon made manifest.
His first Salon exhibit, in 1867, a "Young Peasant," might
have been painted by Breton. His "Women Cutting Grass,'
at the Salon of 1873, proclaimed his originality at once, and
gained for him a third-class medal. At the next Salon he secured
a medal of the second-class with a similar subject, " Women
Gathering Wood," and his vocation was decided. He took his
place among the men of the first promise of his generation, and
went to the source of his true inspiration for his subjects. The
peasantry and the fisher-folk are his models, and he paints them
on the spot. Without extenuating the bareness of their lives,
he contrives to give them always a redeeming trait of pictu-
resqueness ; and while a realist in principle and practice, he posi-
tively rejects the Courbet theory that extremes of ugliness or
repulsiveness are artistically tolerable, if an artist chooses to
perpetuate them. He is an excellent colorist, a forcible
draughtsman, and a master of atmospheric effect. As an etcher
he has won distinction by plates executed with such simplicity,
force of line, and vigor of expression that he has been hailed
among the masters of this great art of the past, which he
assisted to revive.
PAGE
No. i72 The Mussel Gatherer . . . .217
IO THE SENEY COLLECTION.
BOGGS (FRANK M.) Paris.
The French, who are always keenly appreciative of the dramatic
quality in art, were the first to hail in F. M. Boggs a painter of
sea and shore who could not only convey the impression of what
he saw, but of how he felt it, too. Taking for his subject the
most commonplace city street, or the most barren waste of sea-
foam, he contrived, by the spirit of a sympathetic touch, to
enliven and elevate it with some exceptional quality of nature.
The fogs and chimney vapors of a great city assuming fantastic
modulations overhead, a single gull and a floating spar in a
desert of water, were in his hands enough to provide a keynote
of interest for the least hopeful subject. The artist is the man,
and in Mr. Boggs' own life is to be found the secret of his
mastery of a charm which holds many in spell they know not
why. Born at Springfield, O., in 1855, it was not until 1880
that he appeared in the Salon as an exhibitor. Previous to his
passage to Paris, he had practised scenic art in this city, and in
the experience of handling great spaces of background for living
tableaus had acquired that command of the incidental and
dramatic which gives his works in his loftier walk of art their
vital significance. His recognition abroad was immediate. His
first Salon picture was talked about. His second, in 1881, was
purchased by the French Government for the Luxembourg collec-
tion. This was a representation of the "Place de la Bastile,"
handled with striking effectiveness, yet a close adherence to the
fundamental and characteristic facts of the subject. At the
Salon of 1882, the French nation again set the seal of its
approval on his art, by the purchase of his " Port d'Isigny," in
which he showed, as a marine painter, a power quite equal to
his previous manifestations in another line of subjects. Medals
at foreign and American exhibitions followed each other in rapid
succession, and his free and dashing style, a sort of gallant
independence of thought and execution, as of a man who saw
nature alive and painted her so, commanded the public admira-
tion, while it secured the approbation of more critical and
analytical minds. At the first Prize Fund Exhibition at the
American Art Galleries, in 1885, Mr. Boggs secured one of the
INDEX AND BIOGRAPHICAL NOTES. II
$2,500 awards with his " Rough Day at Honfleur," which is
now in the Museum of Fine Arts, Boston.
PAGE
No. 14 View of Dordrecht . . . . .136
BOLDINI (GIUSEPPE) Paris.
An Italian, who paints like a Spaniard, in a studio in Paris, was
the phrase with which a distinguished French critic once desig-
nated the painter of " The Parisiennes." Boldini was, indeed,
born on Italian soil, for he dates his nativity from Ferrara, but
among the early influences to which his art was subject were the
triumphant exploits of Fortuny and his followers, who broke
new ground which has been fertile in a harvest of strong brushes.
The Italian and the Spanish natures are not very widely di-
vided in artistic tastes, but Boldini was strong enough to avoid
becoming a slavish follower of the school from which he adopted
its hints without copying its manner. A lover of sunlight, ©f
broad daylight, and all the gayety and brilliancy of nature it
involves, his first real successes were made with pictures in which
he could give his taste in this direction fullest play. He pos-
sessed, in a rare degree, the faculty of feeling light as well as
seeing it, and of painting it as he felt it, so that his sentiment
might reach the spectator too. Paris, to whom gayety is as wel-
come as melancholy is abhorrent, received him with open arms
and purses. The Italian, who came to her almost timorous of
his future, was almost suffocated by her ardent and exuberant
favor. Next to Paris, the United States was the readiest to rec-
ognize and, even more generous, to encourage him. His paint-
ing of the figure, like that of the landscapes in which he was
most fond of setting his groups up, was of an exquisite quality
of color and ease of handling, and in the treatment of interiors
his keen eye and accurate hand achieved equally felicitous re-
sults, always without the burdensome appearance of labor from
which mere superficial finish in art must suffer. No artist of
his nation and century has, perhaps, come nearer to reviving in
our day the essential elegance of art in France in the last cen-
12 THE SENEY COLLECTION.
tury, when the broad path to the destruction of dynasties in a
gulf of blood was made beautiful by the utmost refinement of
genius with pen and brush.
PAGE
No. 158 After the Bath 210
No. 239 In the Garde?i of Versailles . . .252
BONHEUR (FRANCOIS AUGUSTE) . Deceased.
In 1845, when all Paris was talking about the remarkable exhib-
its made in the Salon by a young girl named Rosa Bonheur, who
had elected to become a painter of animals, another Bonheur
made an appearance in the galleries. This time it was a man,
Francois Auguste by name, and a man ambitious to be a painter
of genre. His pretensions were laughed at. It was critically
concluded that the Bonheur family could produce only one phe-
nomenon. But the following year, this genre painter exhibited
a landscape which attracted attention. In a few years more he
was a landscape and cattle painter esteemed but little less than
his gifted sister. Auguste Bonheur found his legitimate avoca-
tion in the painting of landscapes with cattle, and through his
pictures on these themes he won his successive medals and his
red ribbon of the Legion. It is quite possible that the greater
fame of his sister overshadowed his, and that he might have won
a higher position in art under another name. At any rate, he
conquered an important place for himself, and died at the age of
sixty years, in 1884, prospcrous; and with his reputation endorsed
by the presence of his works in the national museums. Auguste
Bonheur was one of the first of French artists to send his pic-
tures regularly to the Royal Academy Exhibitions in London,
and he, like his sister, enjoyed a very extensive patronage in
England, whose collections are rich in his works. He was a
hearty, realistic painter, with less imagination and more observa-
tion than his sister, painting what he saw frankly and faithfully,
and in his landscape, as in his cattle, presenting nature in an
always pleasant and friendly aspect.
PAGE
No. ' 7 ' Morning in the Highlands . . .217
INDEX AND BIOGRAPHICAL NOTES. 1 3
BONHEUR (MARIE ROSA) Paris.
In her ripe old age, the most distinguished member of her sex
in the history of art can look back to her youth of trial and
struggle over a life rich in all the rewards that perseverance can
conquer for genius. Born of an artistic family in 1S22, at
Bordeaux, Rosa Bonheur's entry into art was attended by a
bitter poverty, that sometimes threatened to end in desperation.
Her father, a worthy and industrious but unfortunate artist,
brought her to Paris in 1830, after the death of her mother,
and narrow as his means were, put her to school. But the girl,
born an artist, rebelled against mere book-learning, and rather
inclined to share with the boys their truancies in the fields. She
had acquired some skill in drawing, from imitating her father at
his work, and this art she cultivated at school to the neglect of
most of her other studies. Finally, the conviction of her voca-
tion forced itself upon her father, and he removed her from the
seminary, and set her to copying pictures in the Louvre. From
the start she gained a little money by the sale of her copies,
and of little studies and pictures painted at home, and after
assuring herself that she might hope for patronage, she turned
her attention largely to the painting of animals, of which she
was very fond. The oddity of a young girl choosing such a
field of labor attracted attention to her. Her ability commanded
respect. In a modest way prosperity began to come to her, and
with every annual exhibition her fame grew and her admirers
multiplied. Her first original pictures were exhibited at Bor-
deaux, in 1 841. One represented two rabbits, and the other
goats and a ram. In 1849 she was made director of the Paris
Free School of Design for Young Girls, and in 1853 she crowned
her fame with the great " Horse Fair," now in the Metropolitan
Museum of Art. Every possible honor has been conferred upon
her by her own country and other European states. The high-
est, perhaps, was that embodied in the order of the Crown
Prince, late the Emperor Frederick, of Prussia to his army, to
rigidly respect her house and studio, when the surges of war
fairly washed its walls with blood. Surrounded by her pet beasts
in her uninvaded garden, she alone, of all the artists of Paris,
14 THE SENEY COLLECTION.
was able to continue her devotion to her art during the great
war that swept the last Napoleonic Empire out of existence.
PAGE
No. 273 The Choice of the Flock . . . .273
BOUGHTON (GEORGE H.) London.
Although of English birth, and for the past thirty years a resi-
dent of his native country, the United States still claims George
H. Boughton as an American artist. Nor is this without reason.
Born in England in 1834, he was brought to this country in 1837
by his parents, and at Albany, N. Y. , commenced to instruct him-
self in the art for which he manifested talent in his earliest boy-
hood. It was at Albany that he opened his first studio in 1850,
and the old American Art Union was almost his first patron. It
was on the proceeds of its patronage that, in 1853, he went to
Europe to improve himself in his art, and from this journey he
returned to resume his residence in Albany, and subsequently in
New York City, where he remained several years. His first ex-
hibit at the National Academy of Design was made in 1858, with
"A Winter Twilight," and it was not until iSsgthat he returned
to Europe, first settling down to study in Paris, and in 1861 go-
ing to London, where he has since remained. In 1863 his pict-
ures made their mark at the British Institution, and in 1864 at
the Royal Academy. American collectors continued their sup-
port, and English connoisseurs recognized and encouraged him.
Thus began for the artist a career of phenomenal success, which
time has only augmented. A master of technique and of an
original style, his pictures are also characterized by a genuine
pathos and pure, latent sentiment that appeal to every heart. He
tells his story in a naive and sincere way that gives value to the
most trifling episode, and in his more important compositions,
especially those relating to Knickerbocker history, displays a
knowledge and a humor, allied with a faculty for realizing the spirit
of his subject, that give to these works a sound historical signifi-
cance. His pictures of Puritan life in New England are also of
INDEX AND BIOGRAPHICAL NOTES.
15
the first interest, and he has produced some remarkable compo-
sitions based on Chaucer and other old English poets, as well as
many inimitable incidents of English life and subjects drawn
from Brittany and the Netherlands. Mr. Boughton became a
National Academician in 1371, and a Member of the Royal Acad-
emy in i333, and has received many continental recognitions and
honors.
PA _E
The Rose 135
No.
12
No.
^7
No.
8G
No.
104
No.
146
No.
244
No.
2(iX
Fading Light .
The Gipsy Girl
Going to Church
Tarn O'Shanter
Charity
263 The Council of Peter the Headstrong
142
J73
l83
204
255
267
BOUGUEREAU (WILLIAM ADOLPHE ).
Pari;
One clay in 1842 or so, there was a veritable riot among the stu-
dents of the Alaux Art School at Bordeaux. It was occasioned
by the award of the prize of the year to a young shopkeeper's
clerk, from La Rochelle, who was taking daily drawing lessons
of two hours each, which his employer allowed him to abstract
from business. The young Bohemians had such a contempt for
the young shopman that they resented with violence the fact
that he should win the honor of the school above their heads.
But Bouguereau received the prize in spite of their protests, and
it decided his career. He determined to become an artist. His
family objected. He persisted, threw up his employment at
the shop, and went, penniless, to live with his uncle, who was
a priest at Saintonge, and to paint portraits of the townspeople
for a few francs each. Out of his earnings he contrived to save
goo francs, on which capital he proceeded to Paris, entered the
studio of Picot, and secured admission to the Ecole des Beaux
Arts in 1843, at the age of eighteen years. He lived by incredi-
l6 THE SENEY COLLECTION.
ble shifts, finally receiving some small assistance from his family,
until, in 1850, he won the Prix de Rome. For four years he
was a pensioner and student in that city, and he returned to
Paris an artist competent to the execution of great works. Pub-
lic commissions and private patronage soon laid the foundation
of his fortune. He became a Member of the Legion in 1859,
and an Officer in 1876, during which year he was also elected a
Member of the Institute — of which he has since been President.
He has received the Medal of Honor twice — in 1S78 and in
1885 — and is decorated with numberless foreign orders. In the
face of the reaction against classicism he remains a classicist, but
his technical knowledge is so profound, his skill so masterly,
and his art so powerful in its intellectual vitality that he is able
to hold his own against the strongest rush of the naturalistic
tide, that would sweep feebler men before it. He is personally
an interesting man, with a rigid adherence to his artistic beliefs,
an iron resolution and indomitable will. One of the bitterest
critical battles of our time has been fought over him, but it has
not swerved him one hair's-breadth from the position he has
assumed, and has rather added to than impaired his fame.
PAGE
No. 213 Night 239
BRETON (EMILE ADELARD) Paris.
The genius of Jules Breton appears to be a family gift. It not
only finds reflection in that artist's daughter, Mme. Demond-
Breton, but also in his younger brother and pupil, Emile Adelard.
Emile Adelard Breton, born at Courrieres in 1830, enjoys an en-
viable reputation as a man as well as an artist. He was one of the
art-stic corps who enrolled themselves for battle against the Ger-
mans in 1870, and it is told of him that he displayed such conspic-
uous gallantry that his general embraced him on the battlefield on
which his heroism had asserted itself, and in the very face of the
enemy. The ancient sturdiness of the rural stock from which
the Bretons spring, and which sent to the armies of France some
INDEX AND BIOGRAPHICAL NOTES. 1 7
of their best soldiers, lives in the peaceful breast of the artist
and draws him from his easel whenever there is wrong to be
redressed or patriotic duty done. Emile Breton's debut at the
Salon occurred in 1861. In 1866, 1867, and 1868 he won medals
at home, and in 1873 was honored with one at the Vienna Exposi-
tion. This was followed by another at the Philadelphia Exposi-
tion of 1876, and in 1878 a medal of the first class fell to him at
the Salon, supplemented by the Legion of Honor. He is also a
member of the Order of Leopold. The sterling qualities of the
man are reflected in his works, which are also pervaded by the
poetic sentiment which is a heritage of his family. His style
is simple and direct, his subjects are without ostentation or for-
mality, and his future standing among French painters of land-
scape is assured.
PAGE
No. 78 Evening 169
BRETON (JULES ADOLPHE) . . Paris.
The distinguishing characteristics of Jules Breton's genius are
its combination of the hand and eye of the artist of the first rank
and the spirit of a poet of an equal distinction of merit. Born at
Courrieres in 1827, he was schooled under Drolling and Devigne,
whose lessons in technique only furnished him with a founda-
tion upon which to create a style of his own. He commenced to
claim attention in 1849, received his first medal in 1855, one of
the second class in 1857, and after first-class awards in 1859,
1861, and 1S67, was granted a Medal of Honor in 1872. He
had been accorded the Legion of Honor in 1861, and was made
an Officer in 1867. Prosperity had come with fame. He was
admitted to be as an original and sympathetic delineata of vil-
lage and country life of the happier order, what Jean Francois
Millet was to its more grandiose and pathetic side. His poetic
temperament invested his pictures with a subtle sentimental
charm. His was an art in which the lark and the nightingale
sang, under vaporous skies, over a rich earth refreshed with
2
1 8 THE SENEY COLLECTION.
dews. His types of peasant women had the simple nobility of
those ancient Gallic maids and matrons whom the Roman con-
querors could subdue only with the sword. His men were fit
descendants of the dauntless race that followed Henri de la
Roche-Jacquelin into battle armed with their pitchforks and
scythes. He preached the eternal sermon of labor, but rather
hopefully than sadly. His peasants working in the fields, his wo-
men at the fountain, and his men at the plough, had about them
rustic health and a suggestion of the home where the pot bubbled
and the hearth was warm. Recognition from his native land
was followed by that of the world. Masterpiece after master-
piece passed into the great collections of Europe and America.
The sale of his " Evening in Finisterre" and of his " First Com-
munion " in this city was attended with positive public enthu-
siasm. His modesty, however, remained as inviolate as his
fidelity to his art. The songs his soul sang his brush invested
with form and life as tenderly as before. The humble life of
the cottage and the field which he delineated became only the
dearer to him from the knowledge that he had made it eloquent
with an appeal to universal appreciation. The poet and the
artist still reign superior in him to the mere man.
PAGE
No. qq Brittany Washerwomen . . . .180
BRIDGMAN (FREDERICK A.), N.A. Paris.
During the early years of the Civil War in this country, a regular
attendant at the night school of the Brooklyn Art Association was
a modest lad named Bridgman. He was known to be the son
of a Southern family who had long been residents of Brooklyn ;
to have been born in Tuskegee, Ala., in 1847, and to be em-
ployed during the day as an engraver by the American Bank
Note Company in New York. In the class he was looked upon
as one of the most accurate and painstaking of the students, with
so serious a purpose that even when a rare holiday came round
he was on hand to devote it to his own improvement rather than
INDEX AND BIOGRAPHICAL NOTES. 19
waste it in the useless leisure of an idle day. In 1866 young
Bridgman ceased to be a student in Brooklyn, and it presently
became known that he had abandoned the steel plate for the
canvas, and gone to Paris to study art at the Ecole des Beaux
Arts. Gerome, under whom he worked, became sincerely inter-
ested in him, and his encouragement had doubtless much to
do with the young man's advancement of himself. His first
exhibited pictures were of subjects drawn from his summer
sketching tours in Brittany. Next, for a couple of years, he
painted from material found in the Pyrenees, where he settled
in 1870. From the Spanish border he went further afield, to
Algiers, Egypt, and up the Nile. His personal movements can
be clearly traced in his works, from his " American Circus in
France," which first attracted marked attention to him, while he
was yet almost a student in the schools, down to the latest
records of the activity of his brush in Algiers. He commenced
exhibiting in the National Academy of Design in this city in
1871, in 1874 was made an Associate, and in 1881 became a full
Academician. Meanwhile he had won his medals in Paris, and
in 1878 had been received into the Legion of Honor. He has
latterly devoted himself almost entirely to the class of subjects
in which the barbaric picturesqueness of the North African and
Egyptian peoples is still rich. Mr. Bridgman has his studio
in Paris, but last year visited this country and made exhibitions
of his works, which enjoyed deserved success. He has written
and illustrated from his own sketches and pictures a book on
Algiers and its people, the text of which is in conforming inter-
est to its embellishments.
PAGE
No. 95 A, B, C, 177
BURGESS (JOHN BAGNOLD), R.A. . London.
The sailor king, William IV., among the artistic appointments
of his brief reign, made that of H. W. Burgess to be his special
landscape painter. The son of this artist, christened John Bag-
20 THE SENEY COLLECTION.
nold, was born in London in 1830. His father was his first
teacher, after which he studied at the Royal Academy and under
Mr. Leigh, in Newman Street, of immortal memory. His work
in the life class of the Academy won for him the silver medal
for the best drawing, and attracted an attention which brought
him patronage. Accident and the necessities of his health made
him a resident of Spain for some years, and here he found the
material by which he won his greatest reputation. He made a
close study of Spanish life and character, which he has delineated
in many admirable pictures. His scene at a bull-fight, at the
Royal Academy in 1865, gave him a fortunate introduction to
the collectors of Great Britain, and opened up his future to him.
In 1877, his " Licensing Beggars " secured for him an Associate-
ship, and subsequent successes resulted in his admission as a full
Academician. Mr. Burgess now has his studio in London, and
while he still produces Spanish subjects, he finds in native
English genre an expansion of his range.
PAGE
No. 304 The Frolic after the Wedding . . .290
CABANEL (ALEXANDRE) .... Deceased.
Cabanel was in fact, if not by formal appointment, the court painter
of the Third Empire. The opportunity which Couture threw
away he took advantage of. The list of his portraits of this period
charms from their graves the phantoms of a shattered dynasty,
blown to the four winds by the blasts of a murderous war.
The emperor, dead in exile ; the heir to the lost throne butch-
ered by savages on an alien battle-field ; the wan and haggard
empress, whom the country she once presided over denies even
a habitation ; the pinchbeck warriors, corrupt courtiers, knaves
and parasites of the bubble empire, pass before one in this cata-
logue like figures in a glass. His portraits of women are the
best. Naturally a gentle and sympathetic man, he had the gift
of translating female character with all of its natural grace and
distinction. Born at Montpellier in 1823, a winner of the Piix
INDEX AND BIOGRAPHICAL NOTES. 21
de Rome at the age of twenty-two, he was a commander of the
Legion of Honor at his death last year. He had won all the
medals, he had been honored abroad and at home, and he had,
above all, as professor of the Ecole des Beaux Arts, directed
many a valuable talent upon its successful career. A pupil of
Picot, he painted for many years much in the style of David ; but
about i860 he entered upon another period of his art, in which
he produced his greatest works. Some of his decorations of
public edifices are masterpieces which deserve to be imperish-
able, and his " Birth of Venus," in the Luxembourg, is a picture
without a peer of its order of subject. It is a proof of Cabanel's
power as a teacher, and of the love his gentle nature inspired in
his scholars, that he for years directed the most popular atelier
of the Ecole des Beaux Arts. He could teach without com-
pelling his students to imitate him, which was the secret of his
success. Bastien-Lepage was one of his Aleves, and so was Ben-
jamin-Constant. Such contrasts of styles occur continually
among his pupils, of whom it is related that at a recent Salon no
less than one hundred and twelve were represented among the
exhibitors.
PAGE
No. 186 Rebecca 224
CALIGA (I. H.) ... Boston.
The International Exhibition at Munich, in 1883, was noteworthy
for the introduction to the public of a number of young artists
who owed their development to the art schools of the Bavarian
capital. Among these newcomers, one of the most striking was
a young American who exhibited under the name of I. H.
Caliga. Born of German parentage at Auburn, Ind., in 1857,
the painter had, in 1878, entered the school of Professor Lin-
denschmidt, where he had speedily proved himself one of the
aptest pupils, and a decidedly original and thoughtful mind as
well. The promises which his talent held forth were realized
in 1883, and since that time he has continued to confirm with
22 THE SENEY COLLECTION.
each production the impression of that by which he made his
debut. The name Caliga, which he adopted, is a Latinization
of his family name of Stiefel, and by it he has since acquired a
reputation that has made this brush-name a veritable trade- mark.
His pictures are essentially representative of the modern and
realistic tendency of Munich art, which, while it still continues
to produce subjects with an individual interest and meaning,
seeks in their realization to present them in a natural aspect.
Thus there is grafted upon actualities, the figures and facts of
life, a poetic and creative sentiment presented by executive
methods in sympathy with the spirit of the work. Mr. Caliga
returned to America some years since, and is now a regular and
favorite contributor to our exhibitions.
PAGE
No. i Violet . . . . . . . .129
CAZIN (JEAN CHARLES) Paris.
Jean Charles Cazin, born at Samer, Pas-de-Calais, was one of
the pupils of that remarkable master, Lecoq de Boisbaudran,
whose name has been assured of immortality, not through his
own pictures, but through the genius of the scholars to whom
he gave their development. De Boisbaudran was one of those
rarely gifted men whose intelligence and sympathy penetrated
the souls of his followers, analyzing their sentiments and natural
inclinations in art and propagating them as the gardener does a
flower, with tender and loving skill. From the studio of this
master of masters the young Cazin won his first honors in 1876
with his " Dock- Yard," following it in 1S77 with " The Flight
into Egypt,'' which confirmed his title to respectful recognition.
He was in those days a painter of history, sacred and profane,
and oi genre, and as such he won his first-class medal in 1880,
and in 1882 his ribbon of the Legion of Honor. It is a pecul-
iarity of the Boisbaudran school that it has graduated some of
the greatest realists in contemporary art, among whom may be
mentioned Legros, now at the head of his rank in London ; Ga-
briel Ferrier, a sterling talent full of soul and fire, and L'Her-
INDEX AND BIOGRAPHICAL NOTES.
23
mitte. a painter of the people and the fields of his birth and
boyhood, in whom the future may find a worthy successor of
Millet. To their ranks Cazin has become joined, and his influ-
ence on current art is perhaps more potent than that of any of
his colleagues of the Boisbaudran atelier'. Into the landscape art
of France, fallen into a stagnated imitative mannerism based on
the master-manners of Corot, Rousseau, Dupre, and Diaz, he.
has blown a breath of new and healthy life. Like his great
predecessors, he is a naturalist, and like them he sees nature
with the eye of a poet, made keen and lucid by the stimulus
of inspiration, and harmonic with the echoing chords of a sym-
pathetic soul.
PAGE
. 142
• 153
. 169
• J93
. 203
. 240
• 254
. 266
. 272
. 280
No.
26
An Old Wind?nill
No.
48
The Carrier s Cart .
No.
79
Moonrise .
No.
124
The Full Moon
No.
i44
On the Hill
No.
216
La Mai son du Garde
No.
243
Night in Flanders .
No.
262
Moonlight in Holland
No.
272
The Village Orchard
No.
287
Weary Wayfarers .
CHARLEMONT (£DUARD)
Paris.
In 1870 Hans Mackart, who in the open generosity of an ex-
pansive nature was always quick to distinguish merit and ready
to encourage it, discovered in the class of Professor Engerth,
at the Vienna Academy, a young student of two and twenty
whose work spoke well for him. He found him to be the son
of a Moravian drawing master, born at Znain and brought up
by his father as a painter of portraits and miniatures. Mackart
took young Charlemont into his studio, and after advancing him
to the extent of his ability, provided him with the means of vis-
24 THE SENEY COLLECTION.
iting Italy. The first fruits of his schooling and experiences
appeared in " The Antiquary," exhibited in 1872, and a succes-
sion of picturesque genres, generally of the sixteenth and seven-
teenth centuries, followed and won popularity. Charlemont
also secured consideration as a portrait painter, particularly of
children. His first pictures were of a style decidedly reminis-
cental of Mackart, but with wider experience in Venice, Ger-
many, and France, these traces of his master passed away. He
is now settled in Paris, almost entirely given up to the painting
of cabinet pieces in costume genre. Charlemont's younger
brother is the well-known landscape and animal painter and
etcher, Hugo Charlemont.
PAGE
No. 105 In the Studio . . . . . .184
CHASE (WILLIAM MERRITT), N.A. . New York.
Mr. Chase has been accurately described by one of his brother
artists as the most complete and distinctive artistic nature of the
painters of our time and country. He is artistic in everything ;
his tastes are repeated in his surroundings ; he lives and banquets
on all that arouses the interest of his eye and stimulates his
hand to work, and in his enthusiasm falters at no experiment
and rests satisfied with no special medium. Probably no artist
of our time has made as wide and complete a series of experi-
ments as he. Certainly none has conquered every method with
as much success, or covered such a range of subjects with equal
brilliancy. Sea and land, human and animal life, and the inani-
mate objects which constitute the still-life painter's models, have
furnished him in turn with material, and so strong is his instinct,
so sharp his eye and skilful his hand, that he has been able
to give to each motif some of itself, translated through him-
self in a style that is unmistakable. Born in Franklin County,
Ind., in 1849, Mr. Chase's earlier artistic years were hampered
and laborious. He had some lessons from the Western por-
trait painter Hayes, and coming to New York, studied for a
couple of years at the National Academy schools and under J.
INDEX AND BIOGRAPHICAL NOTES. 25
O. Eaton. In 1871 he settled in St. Louis, where he made a
local reputation as a painter of still life and portraits, thanks to
which he was able to secure sufficient commissions to enable
him to visit Europe in 1872. He became a pupil of Piloty, in
whose studio, so impregnated with the traditions of German
classicism, his independent spirit almost created a rebellion.
But Piloty was a great teacher, if not a great master. His art
was honest and his methods sound, and his heart and brain were
equally capacious. The radical young American grounded his
own art in that of his professor, and then went forth into the
art of the whole world to take his post-graduate course. While
six years of study give Munich a claim upon Mr. Chase as one
of her school, he is really of an eclectic production, and Mr.
Kenyon Cox writes truly of him in Harper s Magazine that his
art is more Parisian than Bavarian. The masters of the Nether-
lands and of Spain, dead long since, have taught him priceless
lessons out of their immortal works, for they have turned him
over to nature, which to such a spirit as his means the source of
all art. Returning to New York in 1S73, Mr. Chase has been
since a resident of this country, though he has made various
visits abroad, and his bold and determined nature has given him
an important influence for good upon the current generation in
American art. He is a member of the National Academy, of the
Society of American Artists, and of a number of other artistic
associations, in all of which he exercises the weight of a strong
mind to which all life is art and life without art not worth the
living.
PAGE
No. 24 In the Park ...... 141
No. 145 Still Life ....... 204
No. 253 In the Studio . . . . . -.261
CLAIRIN (GEORGES JULES VICTOR) . Paris.
When Henri Regnault visited Spain and Africa in quest of
subjects, he had with him a friend who was more of a brother
to him than many brothers are to each other. When Regnault
26 THE SENEY COLLECTION.
was shot dead at the sortie at Buzenville, and his body lay for
nearly a week among the unknown dead of that bloody field,
this friend it was who sought it out and reclaimed it from a
nameless grave. Clairin, like his old comrade, was born in
Paris; the two were of about the same age, and that Regnault
had an influence on the art of the friend who has survived him
is plain, but the influence was rather upon his taste than his
style. Clairin is always himself. No man paints like him, and
he has in the free swing of his brush, and his audacity of color,
that which belongs to himself alone. It may be questioned,
however, if he would have been as great a painter, had it not
been for his Spanish and African journeys, with a genius as bold
and a mind as strong as his friend's to impress itself upon his
own.* After having continued for some years to develop the
material he and Regnault had together discovered, Clairin, in
the Salon of 1877, gave Paris one of those new sensations she
loves, in his famous portrait of Sarah Bernhardt. Since then,
though never quite forsaking his oriental subjects, he has largely
given himself up to female portraiture, and to those character-
istic studies of the elegant Parisienne as she lives, of which his
" Frou-Frou " is a typical example. These latter he paints
with a brush as graceful and spirited as themselves, and the
same qualities are discernible in his portraits, of which it has
been said that he could make the most stupid woman in the
world look, by his touch, as if she had wit and brains. Clairin
was born on September 11, 1843, and was originally a student of
the Ecole des Beaux Arts, and a pupil of Picotand of Pils, who,
without being great painters themselves, have been masters of
some of the most gifted artists of the present school in France.
PAGE
No. 96 The Puppet Show 178
CLAYS (PAUL JEAN) Brussels.
In the studio of Gudin, Paul Jean Clays, born at Bruges in
1819, learned his art and learned it well. He inclined to a
INDEX AND BIOGRAPHICAL NOTES. 2J
more placid and pleasant mood of marine art than his master,
and viewed his subjects in a more cheerful spirit. Like the old
Dutch masters, he preferred the waters of the coast to the
angrier currents of the deeper sea, and times of calm, of lumi-
nous dawns and sunsets of vaporous gold, to the more energetic
and dramatic phases of nature. In 185: he returned from Paris
to his native country, making his establishment in Brussels,
within ready reach of his favorite motifs. He received a medal
for his first picture at Brussels, the year of his arrival, and a
similar recognition at the Salon of 1S67. In 1875 ne became a
member of the Legion of Honor, and an officer of the order in
188 1. He had been made a cavalier of his native Order of
Leopold, and been medalled and diplomaed throughout Euiope
before he had turned his fiftieth year, and the popularity of his
pictures had enriched him. While confining his subjects in the
main lo the Flemish and Dutch coasts, he has on occasions
ventured farther afield, and scenes in the lower Thames, at
points along the English coast line guarded by the ancient
Cinque Ports, on the French coast, and even in the North Sea,
attest to his just observation and to his appreciation of local
color, and the characteristic details of localities which give them
individuality.
PAGE
No. 76 On the Scheldt 168
CONSTANT (JEAN JOSEPH BENJAMIN) Paris.
A picture which caused more than usual comment at the Salon
of 1870, was the work of a young artist who had made his first
exhibit there only a year or two before. It was entitled " Too
Late.'' On a miserable pallet in a wretched garret a poet lay
dead amid the ripped-up productions of his wasted life. Over
the house-tops the luxury, wealth, and glory of Paris sent their
incense to the skies from ten thousand palaces, and tardy Fame
climbed the garret stairs to carry her dead votary off to share
them, only to find that her visit had been too long postponed.
28 THE SENEY COLLECTION.
The gay city, which never fails to appreciate an allegory, even
if it be at her own expense, took this one up and made the name
of Benjamin-Constant famous. He was a Parisian of good
family, born in 1845. He was a soldier in the war of defence
against the German invader. A pupil of Cabanel, he had re-
jected Cabanel's manner totally, and in spite of the impression
made by his " Too Late," had not yet settled on his true avoca-
tion in art. It came to him by accident. Having drifted into
Spain after the war, he commenced to experience the seductions
of its semi-tropical life and nature, and when he went to North
Africa with an embassy to the Sultan of Morocco, the key to
his art was found. He became an Orientalist and the leader
among them. His travels enriched him in themes for his brush,
which won him wealth and the honors that are quite as dear to
the artist. So wide a success did his oriental subjects meet
that he fell under the reproach of being able to do nothing else.
As a practical refutation of this charge he produced a series of
historical compositions and characterizations quite equal in tech-
nique and power to his previous pictures. For some years he
occupied a curiously prominent position in Parisian art by the
struggle which occurred over his claims to the medal of honor,
which was the sole distinction in the gift of artistic France
which he lacked. In 1S88 he visited America, and executed
some commissions for portraits and decorative works, a visit
which he repeated the following year, with the result of leaving
some important pictures in our collections. As a writer on his
art he has contributed to the press some papers which will be
found of permanent value. They are sound in judgment, just
in their estimates, and replete with ideas of practical utility and
fertile suggestiveness.
PAGE
No. 25 Herodias 141
COROT (JEAN BAPTISTE CAMILLE) Deceased.
When, in 1875, Corot laid to rest his head, silvered with seventy-
nine years of honors, he did so with the consciousness that he
INDEX AND BIOGRAPHICAL NOTES. 29
left behind him a life without reproach and ripe with usefulness.
The pupil whom Michallon and Bertin had taught to paint the
leaves on trees and the blades of the sod, had ended by teaching
the world that leaves can be seen without being painted one by
one, and that one can feel the greensward under one's feet with-
out counting every spike of grass. The Parisian shop-boy had
become to art what Theocritus was to poetry. He had given to
landscape painting the essence of that poetry that is present in
the simplest as well as the sublimest phases of nature, and trans-
ferred to his canvases the silvery charm of the heavens under
which nature smiles her welcome to the poet's soul. It was
after his visit to Italy, in 1826, that Corot commenced to de-
velop that refined suggestiveness whose ultimate perfection under
his hands crowned the deathless triumph of his art. At first his
works exhibited breadth, strength, and a striving after color.
Gradually he simplified his manner, created a system of subdued
harmonies, and achieved his triumphs over the problems of light
and air. It was when he became the painter of the evening and
of the dawn that he scaled the pinnacle of artistic success. Yet
his art was so novel, so subtle, and so independent of accepted
traditions and familiar styles, that it was long in forcing its way
into public approval. .Supported by an inherited fortune, the
artist remained true to his ideals, and when victory finally came
to him it found him rich in the accumulated masterpieces of a
long lifetime. Success was meted out to him with no niggardly
hand, once it did arrive. At its prime Corot is believed to have
earned §50,000 a year by the sale of his pictures. He lived the
same simple life of an old bachelor, unchanged by dignities and
prosperity. In 1833 he had received a second-class medal, and
two of the first class fell to him in 1848 and 1855. In 1846 he
received the Legion of Honor, and in 1867 was made an Officer,
but he was always the same " Papa Corot." He was the sincere
friend of his struggling contemporaries when they most needed
friendship, aud his death was mourned by the artists of France
as a personal misfortune as well as a national loss.
PAGE
No. 28 The Environs of Paris . . . . 143
30
THE SExNEY COLLECTION.
No.
No.
49
132
No.
No.
No.
*55
178
188
No.
232
No.
261
No.
No.
277
281
No.
No.
285
289
The Path to the Village
Near Ville d' Array .
The Nut Gatherers .
The Bathing Boys
Oak Charlemagne
The Ford
The Fisherman, Morning
The Myrtle Wreath .
A Souvenir of Normandy
The Dance of the Nymphs
La Cueilletie
PAGE
. 153
• J97
. 209
. 220
• 225
. 249
. 266
. 275
. 277
• 279
. 281
COURBET (GUSTAVE)
Deceased.
It required the fall of the Vendome Column to break the tur-
bulent and stubborn spirit of the master of Ornans. His re-
sponsibility for this crime has been disputed. It is even stated
that he endeavored to secure the preservation of the column.
Nevertheless, his complicity in the movements of the Commune
and his official position in connection with it prevailed against
him, and he paid for the shattered monument not only the cost
of its restoration but the fatal price of shame, exile, and dishonor.
The influence of Courbet on French art was overestimated at
one time. He was a man of great gifts, but too narrow in mind
and coarse in mental fibre to make a leader. He could bully
men but not persuade them, and it was part of his dogmatic na-
ture to demand absolute devotion and belief or reject all com-
promise upon it. . He himself did not perceive the weakness
of his own character, and his failure to force an artistic issue
upon France rendered him furious and resentful. He went so
far at one time as to almost abjure his native country in favor of
Germany, and made it his boast to welcome foreign honors and re-
ject those of his own nation. All of this reacted against him, and
raised a storm of unmerited reprobation that recoiled upon his
INDEX AND BIOGRAPHICAL NOTES. 3 1
works. He died in exile in Switzerland, in 1878, a man of sixty
years, broken in fortune, regretted by few and mourned by fewer
still. Since his death his great artistic gifts have slowly won their
true appreciation, and the tumultuous spirit of the man fading
from memory, leaves the fame of the artist shining as it dese;
Born at Ornans, Courbet was originally destined for the law and
sent to Paris in 1S39 to attend the schools. He neglected his
legal studies to lounge among the studios, and did some desultory
painting under David d' Angers. He maybe considered as self-
created in art, however, and his very first exhibited picture, in
1-44. had in it a marked originality and a bold and personal
style.
PAGE
No. II4 A Norther 188
COUTURE (THOMAS) Deceased.
At the age of thirty-two years, almost unknown outside of artistic
circles and not any too widely known within them, Thomas
Couture made himself immortal by a single work. The "Ro-
mans of the Decadence " took the art world by storm. It
combined in itself the essence of what was best in modern art.
It had the composition of the classicists, the idealism of the
romanticists, the nature of the realists, and the masterly handling
of the school that held technique to be the first necessity in art.
Couture, born at Senlis in 181 5, had studied art under Gros and
Delaroche. In 1840 he showed his first picture at the Salon.
In 1879. just after his death, his last was exhibited. In these
thirty-eight years his vast energy had overcrowded itself in works
which followed each other rapidly and yet failed to keep pace
with the sweep of his fecund imagination. He once com-
plained that he needed the arms of four men to accomplish
what he dreamed. He was by turns idealist and satirist, a
painter of facts, of creations, and of reflections upon human folly
worthy of the invention of Balzac. Such a man naturally could
not go through life without contests, and in spite of success,
32 THE SENEY COLLECTION.
fame, wealth, and the devotion of scholars from whose ranks
came some of the great painters of our time, Couture ended his
life a disappointed man. He quarrelled with his contemporaries
on points in and beliefs of art. He quarrelled with the Empire,
which was only too anxious to conciliate him with patronage, on
a trivial detail of one of the great works Napoleon III. had
commissioned of him. As a result of the one he withdrew
from social companionship. As a result of the other, he ceased
to contribute his works to the Salon Exhibitions. The Legion
of Honor, which came to him in 1S4S, was the last token of
official esteem which he received. He had lived in retirement
at Villiers le Bel for some years before his death, admitting
none but a few chosen friends or exceptionally favored patrons
to his presence ; and so little was known by the public of his
productions of this period that the exhibition of his works, made
after his death, caused nearly as great a sensation as had the
" Decadence " almost half a century before. Besides his pict-
ures, Couture left behind him a book, which was published in
1867, under the title " Entretiens d' Atelier," or " Studio Con-
versations," which no student or lover of art can read without
interest and profit. From the number and the ability of the
American students who received their artistic training in his
school, Couture may be said to have had a more important in-
fluence on our art than any French painter of his time.
PAGE
No. in Liberty in Chains . . . . .187
COXE (REGINALD CLEVELAND) New York.
The direction taken by Mr. Coxe's art is an eloquent testimony
to the influence great art exercises and the extent to which it
perpetuates itself. Born in Baltimore in 1855, Mr. Coxe came
to New York and began his art career by the study of the figure
at the National Academy of Design in 1877. In 1879 he went
to Paris, where he entered the studio of Leon Bonnat. His sole
purpose at this time was to perfect himself as a figure painter,
INDEX AND BIOGRAPHICAL NOTES. 33
and his ambitions were all in the direction of figure composition
of the romantic and poetic order. During the progress of his
studies he became impressed by the marine pictures of Courbet.
The fascination of these Homeric exploits of realism grew upon
the young American until he surrendered himself to it and be-
came a painter of the sea. He spent a year in England, at
Land's End, painting and studying. In 1883 he returned to the
United States and established his studio in New York. He has
a studio also at Gloucester, on the New England coast, and has
extended his studies latterly to the shore as well as the sea.
He is also favorably known as an etcher, his sensitive feeling for
the subtle and mysterious effects of atmosphere and for the
movement of the sea, finding almost as spirited and penetrating
expression on the copper plate as on the canvas.
PAGE
No. 67 The Sailing of the Fishing Fleet . .163
DAGNAN-BOUVERET (PASCAL ADOLPHE JEAN)
Paris.
In 1879, at the Salon, Paris enjoyed the double pleasure of
mirth and applause at a picture depicting a marriage party of
the bourgeois type posing in a photographer's gallery to be pho-
tographed in commemoration of the momentous ceremony just
performed. The picture not only displayed infinite quiet humor
and great shrewdness in grasping character, but was soundly
and brilliantly painted. The artist was a pupil of Gerome, who
had made his debut in the Salon in 1877, anfl wTho, in 1878, had
received a medal for his " Burial of Manon Lescaut," which was
afterward seen in America as part of the collection of the Hon.,
rtow Vice-President, Levi P. Morton, of New York. In 1880
M. Dagnan-Bouveret received a first-class medal ; in 1885, the
Legion of Honor, and in 1889, the medals of honor at the Salon
and the Universal Exposition. More his oWn country could not
do for him, except to support him with her patronage, and this
she has honestly done. Commencing on the foundation of
3
34 THE SENEY COLLECTION.
neo-classical art which characterizes the Gcrome school, M.
Dagnan has created a school of his own, in which he has many
followers. Tenacious, patient, persevering, working with the
extremest care, leaving nothing to accident, but carrying out
each effect as he marked it out to be completed when he began,
he is at once one of the most conscientious and one of the most
sincere French artists of the present day. Each picture that he
produces is a work of importance, since in each he puts all his
heart and soul, working with a nervous intensity of purpose that
leaves nothing undone, and that extracts from the subject all
that art can extract from it. He is absolutely free from any of
the mannerisms or conventionalities of academic training, and
equally free from any personal affectations of technique. Bas-
tien-Lepage, himself an artist of a very similar type, held him
in the highest esteem, and since the death of his friend, M.
Dagnan comes closer to taking his place than any other artist of
the day. M. Dagnan takes his surname, Bouveret, from his
mother, in order to distinguish himself from another artist of
the name now deceased. He is a native of Paris, where prac-
tically his entire life has been spent in the studies and the labors
of which his works are the rich if not numerous fruit.
PAGE
No. **7 On Market Day 173
No. *43 The Brigand ...... 203
DANNAT (WILLIAM T.) Paris.
Four distinct artistic schools have aided in shaping the vigorous
and original talent of William T. Dannat. He has studied at
various times in Germany, Italy, Spain, and Paris, and has had
for masters the professors of the Munich schools and Munkacsy.
It would be impossible to trace any of these in his own style, or
in his choice of material. Born in New York in 1853, Dannat
commenced study abroad at an early age as a student at the
Munich Academy. The ample means of his family provided
• Kim with every educational advantage, and the natural energy
INDEX AND BIOGRAPHICAL NOTES. 35
and vigor of his nature prompted him to the full use of his re-
sources. With the exception of a single winter in New York,
his time has been spent abroad, and of late years in Paris, where
his studio is located and where he holds a professorship in the
Art School. Since 1883, his works have secured him a variety
of recognition in the Salon and other exhibitions, and in this
country he is worthily represented by his striking and powerful
Spanish character picture called "A Quartette," which is the
property of the Metropolitan Museum of Art, through gift from
the artist's mother, and by some of his most brilliant smaller
canvases in private collections. His pictures are marked by
firm and accurate outline, great solidity of execution, boldness
and breadth of treatment, and an admirable richness and har-
moniousness of color, and he displays, frequently, a daring au-
dacity in original effects of light, whose greatest difficulties
afford him opportunity for the exercise of his greatest technical
skill.
PAGE
No.21^ In the Studio . . . . . .241
DAUBIGNY (CHARLES FRANQOIS) . . Deceased
Art was an inheritance to Daubigny. Born in Paris in 1817,
he came of a family of painters, and all his surroundings were
artistic. His father, his uncle, and his aunt were laborers at
the easel, and the boy absorbed his first lessons with his childish
breath. He became a pupil of his father, and after a visit to
Italy and some time spent in the studio of Delaroche, he turned
to that universal fount of inspiration, Nature, and found in her
the secret of his future greatness. His earlier figure pictures
and portraits, which are excessively rare, show him, like Corot,
to have been a painter of sound and well-trained ability in this
branch ; but it was to landscape that inclination and sympathy
directed him early and there held him fast. His means were
narrow, and he subsisted by designing, by copying pictures and
drawing on wood for the engravers, devoting all his leisure to
36
THE SENEY COLLECTION.
painting. He came out at the Salon of 1838, and after a strug-
gle of ten years, found prosperity and fame. In 184S he won a
second-class medal ; in 1853 one of the first class. The seal
was set upon his reputation when the emperor, in 1852, pur-
chased his picture of " The Harvest " for the Tuileries, follow-
ing it, in 1853, with the purchase of another for St. Cloud. In
1859 he was invested with the Legion of Honor, and in 1875
was made an Officer of the Order. He died in 1878, after
having shared with the master painters of Earbizon the glory of
regenerating his national art, and left a legacy of masterpieces
to the world. Daubigny was essentially a painter. Light, air,
and color were the keynote of his art. He went to nature as a per-
petual devotee, and his most successful works were those which
he painted from his studio boat, floating on the placid waters
of the Seine and the Oise. In the special class of subjects to
which he inclined he was without a rival, and he has found no
successor, and his influence on the art of the century, like that
of his great colleagues, cannot be overestimated. He was an
etcher of much spirit and skill, and aided largely in the revival
of that art. Daubigny became in a manner a sacrifice to his art.
His death was undoubtedly hastened by rheumatic affections,
contracted from labor in his floating studio in all weathers and
seasons, and his end was attended by cruel physical sufferings.
Of all the painters in the immortal group to which he belonged
he was perhaps the nearest to Corot, not only in artistic sympa-
thy, but in an almost brotherly tenderness of personal affection.
No.
29
No.
5°
No.
81
No.
128
No.
I3I
No.
!52
No.
163
No.
189
No.
229
The River Front
Hauling the Net
The River Oise
The First Catch
A Village on the Oise
On the River Oise
The Crane Covert
The Washing Place
On the Marne . . .
PAGE
143
154
I70
T95
197
207
213
226
247
INDEX AND BIOGRAPHICAL NOTES.
37
No. 257 Spring
Xo. 279 Landscape with Cattle
No. 283 The Gipsies
No. 286 Autumn on the Oise .
^o. 288 ^^ Creek
PAGE
. 264
. 276
. 278
. 280
28l
DAVIS (CHARLES H.)
Paris.
It is now nearly a decade since the pictures of an American, a
painter of landscape named Davis, commenced to attract the
attention of the critics at the annual Salons of Paris. The
painter was a native of Amesbury, Mass., where he was bom in
1855. He had begun to study art under Otto Grundman at the
Boston Museum of Art, and had exhibited with the Boston Art
Club as early as 1878. Going to Paris, he had become a pupil
of Boulanger and Lefebvre, and then, like so many other paint-
ers who have commenced with the study of the figure and
finally gone over to nature pure and simple, he had followed his
inclination and his ideals into the free fields, made strong by
the technique and the experience of his admirable schools. His
rendition of landscape stamped him from the first as one who
had chosen his vocation wisely. He possessed in his style and
execution a remarkably subtle refinement and a remarkably pure
sentiment of poetry, yet managed, as well, to adhere to actual-
ities. He painted what he saw, but he saw it with an eye pecu-
liarly receptive of the faintest harmonies and the most tender
beauties of the scene. As just and competent a critic as Mr.
Theodore Child pronounced his exhibits at the last Exposition
in Paris as being "the finest and most personal" in the depart-
ment of American art, and asserted that his exhibit gave him
rank amongst the great landscapists of the day " as an artist sin-
gularly sensitive to the soul charm as well as to the color charm
of nature.'" In his native country, his charming and masterful
works secured him an immediate acceptance among amateurs
and collectors, and at the Exposition in Chicago of 1890, his
Salon picture of that year received the Potter-Palmer prize of
38 THE SENEY COLLECTION
$500 for the best landscape. At a previous special exhibition
in New York a group of his works had aroused an unanimous
enthusiasm by their beauty and by the variety of power and deli-
cacy of execution they revealed. One of his pictures, entitled
" Late Afternoon," was awarded the cash prize of $2,000 at the
Third Prize Fund Exhibition at the American Art Galleries
in 1887, and was allotted to the Union League Club, in whose
collection it may now be seen.
PAGE
No. 70 The Coming Mist . . . . . .165
No. 122 The First Frost . . . . .192
No. 271 The Curfew 272
DECAMPS (ALEXANDRE GABRIEL) Deceased.
It is a matter of record that the picture by which Decamps, the
great orientalist of his day, made his debut in the Salon of 1827
was a figure of a Turk, evolved from his inner consciousness.
The artist had not yet visited the East, and his picture was simply
an expression of the tendency of his thought and feeling. De-.
camps was a Parisian, born in 1803. He was sent as a boy into
the country by his father, and allowed to run wild until it was
time to send him to school, when he was brought back to Paris.
He had developed what he himself called " the taste for daub-
ing," and was left to work out his own method of art without
parental encouragement. Stumbling blindly toward the light,
learning from the pictures he saw in shop windows and galleries
what pictures were, he finally, at the age of twenty-four, pro-
duced the Turk which attracted attention to him in the Salon.
The subject and the method of the picture proved attractive to the
public, and the young painter was encouraged to proceed. He
had an ambition to paint history, and strove for the Prix de Rome
in vain. It was his lifelong regret that he could not become a
great historical painter, and he often bitterly complained of that
neglected childhood, in which he had learned such lessons of free-
dom and contempt for restraint that he could never afterward
INDEX AND BIOGRAPHICAL NOTES. 39
school himself to the arduous study necessary for success in the
lofty walk of art to which he aspired. The world was the gainer
. by what he considered his loss. A brilliant intelligence, a fecund
invention, and a facile hand enabled Decamps to earn his living as
a caricaturist while he was struggling for recognition as a painter.
Some of his lithograph cartoons display a mordant and deadly
satire equal to the written diatribes of Juvenal. Decamps' rest-
less spirit sent him on many wanderings, and from a visit to
Asia Minor he brought back the inspiration and material for the
oriental subjects, bathed in sunlight and glowing with slumberous
color, which gave him a distinctive place among the masters of
the day. In his greatest success his life was not happy. He had
his studio and hunting lodge in Fontainebleau, and he divided
his life between painting and hunting to dissipate his broodings
on his disappointment in life. He had few friends, though with
Millet and other artists of his circle he was on amicable terms.
Medals and honors only deepened his disgust at his inability to
create monumental masterpieces. Only his great mind preserved
him from total misanthropy. One day in i860 he rode into the
forest with his favorite hounds to hunt. The baying of the
dogs attracted the attention of a forester, and he found one of
the greatest artists of the world thrown from his horse and help-
less from an injury which proved mortal.
PAGE
No. ^o The Toilers . . . . . .144
No. 133 The Se?iti?iel . . . . . .198
No. 237 Cat, Rabbit, and Weasel . . . .251
DEFREGGER (FRANZ VON) .... Munich.
Born on a farm at Stronach, in the Tyrol, Franz Defregger grew
up as a rustic drudge, tending the cattle and sheep in summer
time and getting a small share of schooling during the winter.
From boyhood he exhibited an artistic inclination, using the
pencil wherever he could find a surface to draw upon, modelling
figures out of dough and the clay of the pasture-fields, and fill-
ing his school-books with sketches. lie even gained some skill
40 THE SENEY COLLECTION.
as a wood-carver by self-instruction and practice. In 1857,
when he was twenty-two years of age, the death of his father
made him master of the farm, and the first use he made of his
inheritance was to sell it and go to Innsbruck to study the art of
sculpture under Professor Stoltz. His master advised him to
undertake the study of painting instead, and he took his first
lessons at Munich under Professor Anschiitz. Ill-health sent him
to Paris for a time, whence he returned to his native village,
continuing his studies from nature till, in 1S67, lie entered the
Piloty school at Munich. His first pictures to attract attention
were of Tyrolean subjects, some of historical and others of do-
mestic character, and he produced a number of small genre pieces,
distinguished by a jovial humor, strong individualization, rich
coloring, and brilliant execution. His reputation progressed
from city to city, and from exhibition to exhibition throughout
Europe. He received medals at Paris, and honorary member-
ships of the academies of Munich, Vienna, Berlin ; the great
gold medal of Munich, the first prize of Berlin, and finally, in
1883, his patent of nobility. The public museums and private
galleries of Europe are rich in his pictures, the most important of
which have become universally known through reproduction by
photography and other processes. No German artist enjoys a
more extended popularity, and with the exception of Knaus,
none has conquered so cosmopolitan a favor, or secured so gen-
eral a distribution for his works.
PAGE
No. 88 The First Love Letter . . . .174
DELACROIX (FERDINAND VICTOR EUGENE).
Deceased.
It was the same movement that gave Byron to English poetry
that bestowed Eugene Delacroix on French art. The exagger-
ation of a period of superficial elegance and false classicism pro-
duced a revulsion to the other extreme of romantic realism.
What the massive genius of Gericault began the more brilliant
genius of Delacroix completed. The pupil of Guerin, who made
INDEX AND BIOGRAPHICAL NOTES. 41
his debut in 1822 at the age of twenty-three, with his " Dante and
Virgil," lived to see in 1863 a revolutionized art and literature in
France, and to know that he had been in the van of the battle that
produced it. Yet Delacroix began as a classicist, and the evi-
dences of this influence struggle in his " Dante and Virgil " for the
mastery of his natural tendency to the romantic and tragic side of
nature. He abandoned the prevailing cult early, and his travels
in Spain and Africa in 183 1 gave him the fire and color which
were to render his art supreme. He formed his artistic system
upon the Byronic plan, though with a finer feeling than Byron
and with less morbidness of sentiment. With him color and
action went together. Form was merely accessory. The spirit
of the subject, savage or serene, had its reflection and its sup-
port in the savage force or the serene harmony of his color and his
technique. Wherever he was at his best he was most marked in
this symmetrical relation and balance of heart and hand ; and
wherever he was happiest it was in subjects in which his vigor-
ous and combative nature could find freest and fullest expres-
sion. He died loaded with honors, but his fullest fame has ac-
crued to him since his strong hand dropped the pencil for the
last time. The world has crowned his work with posthumous
laurels. The great galleries and the choice collections of Europe
and America have made prizes of the productions on which he
has stamped his title to immortality, and even the least sympa-
thetic criticism concedes him a unique place as an intrepid
leader and a creator of marvellous fecundity and power, to whom
the world's art owes a debt of gratitude it can never overpay.
PAGE
No. 51 The Lion in the Mountains . . .154
No. 235 Tiger and Serpent . . . . .250
No. 256 Selim and Zuleika . . . . .263
DEMONT-BRETON (VIRGINIE £LODIE) . Paris.
The history of the artistic family at whose head Jules Breton
presides will one day form the subject of a volume. An im-
42 THE SENEY COLLECTION.
portant chapter of this work will be provided by Mme. Demont
Breton. Mme. Demont-Breton is the daughter of the painter of
" The First Communion." She was born at Courrieres, and
early became a pupil of her father, under whose care her ex-
traordinary talent was placed upon a sound foundation. Both
in landscape, in which she had the aid of her uncle, Emile Bre-
ton, and in genre, under her father, she developed rapidly under
instruction. A pupil of her uncle's was Adrien Louis Demont,
a native of Douai, and now a well-known landscape painter.
The meeting of the young students led to a not uncommon
result. They became man and wife, but in order to avoid a
confusion of names, the wife retained that of her family after
her husband's. Demont had gained his first Salon medal in
1879 for a landscape. His wife won hers in 1881 for a superb
canvas, a " Woman Bathing Her Children." The vigor of
drawing, the harmony of color, and the clearness of characteriza-
tion which she had gained from her father's tutorship stood her
in good stead. Her debut was a success, and in 1883 she gained
her medal of the second class with a picture which the Govern-
ment purchased for the Luxembourg Gallery. While she has
gained her artistic ends in landscape and in portraiture, it is in
genre subjects in which children are introduced or play the
chief parts that she is most happy. Her sentiment is always
genuine, her subjects are well chosen, out of honest human
interest in honest human nature ; and while her execution has
a perfectly masculine spirit and strength, her feminine instinct
and delicacy of perception endow her idylls of the country
and the home with a special charm.
PAGE
No. 97 The Twins 178
DIAZ DE LA PEftA (NARCISSE VIRGILE) . Dec'd.
A romantically picturesque figure in art is that of Diaz. Born
in 1808, at Bordeaux, of Spanish parentage, he combined the
romantic blood of his paternal race with the more mercurial
INDEX AND BIOGRAPHICAL NOTES. 43
spirit of that to which he belonged by birth. Cast early on the
world, crippled by the loss of a leg through accident and neglect
at the age of fifteen, he was an errand boy and drudge in a por-
celain factory, where he got his first artistic education by copy-
ing the decorations on the potter}'. It was at this period that
he made the acquaintance of Dupre', who was also employed as
a porcelain painter, and from this shop, after a quarrel with his
master, he drifted to Paris, to starve and fight his way to fame
and fortune. It was a bitter battle. He commenced as a genre
painter, selling for a few francs pictures which he lived to see
held more precious than gold. In 1831 he appeared at the Salon
with some of his first landscapes, and thenceforth, although he
never altogether abandoned the painting of the figure, it was as a
painter of nature that he held his highest rate. A devoted admirer
of and believer in Delacroix, Diaz, like his brother master, was
a colorist of the most brilliant splendor. His feeling of color is,
however, in strong contrast to the fierce and energetic Delacroix.
With Diaz color was all mellowness and harmony of sumptuous
repose, and no painter has succeeded in rivalling his mastery of
that glorious glow of sunlight which warms his canvases as
with hidden fires. He was one of the first artists to invade the
Forest of Fontainebleau in search of subjects, and at Barbizon
as at Paris he lived on terms of the closest amity with Millet
and Rousseau. From the commencement of his success pros-
perity showered on him, and he acquired enormous gains by
his art, which he dispensed with a hand which was never closed
to need or distress. The vitality of a joyous nature, which had
supported him through the afflictions of a laborious youth and
the privations of an early manhood of neglect, never failed
him, and one sees reflected in his works the spirit which
animated the worker. To a third-class medal in 1844 followed
others of the second and first class in 1846 and 1848, and in
185 1 Diaz was received into the Legion of Honor. He died
in 1876, at a villa at Etretat, which he had purchased that he
might bask in the sunlight he loved so well, and continued to
paint almost until the last. The greatest affliction of his life to
him occurred on the day when, wasted by disease and enfeebled
44
THE SENEY COLLECTION.
by decay, his hand could no longer hold the brush which had
won him a double crown of laurels and of gold.
No.
No.
No.
No.
No.
No.
No.
No.
No.
No.
No.
No.
No.
No.
3i
52
80
83
129
J54
180
*95
231
260
270
280
282
294
In the Woods .
PAGE
• 144
An Opening in the Woods
• 155
Flowers .
. I70
The Pet Spaniel
. HI
Evening .
. I96
The Sultana .
. 208
Le Temple de V A??iour
. 221
After the Storm
. 229
The Faggot Gleaner .
. 248
In the Forest .
• 265
Virgin and Child
. 271
In the Pyrenees
. 276
Sunset after a Storm
. 277
The Approaching Storm .
. 284
DOMINGO (JOSE)
Madrid.
Among the compatriots in whom Fortuny discovered a genius,
which it was his always generous practice to encourage, was a
young Valencian named Jose Domingo. Thanks to the advice
and influence of his friend, Domingo was emboldened to under-
take the struggle for recognition as an artist which has placed
him in the van of his native school, and made him one of the
immortal figures in the great modern revival of Spanish art. He
grounded himself by a term of study at the Madrid Art School,
after which he passed some years in Paris, chiefly as a pupil of
Meissonier. From the first, his brilliant and delicately handled
genre pictures attracted attention. He possessed a keen eye for
character, bright and pleasing color, and a very accurate and
graceful draughtsmanship, and his earlier works bore a stronger
and closer resemblance to his master's than perhaps did those of
INDEX AND BIOGRAPHICAL NOTES. 45
any others of Meissonier's pupils. His southern spirit asserted
itself in a more sparkling style, however, and with very little
independent experience his originality made itself apparent.
With the energetic advocacy of Fortuny he was not long in secur-
ing patronage, and his pictures soon commanded high prices. As
early as 1878 he received 80,000 francs for a single work, "The
Halt," a cabinet piece less than a foot square, which was pur-
chased by the Viscount d'Opia. His popularity began early in
England and America, where he is now represented in all the
great collections, and next to the influence of his great leader, he
doubtless owes the permanent establishment of his prosperity
and fame largely to the endorsement of collectors of the Anglo-
Saxon race.
PAGE
No. 205 The Bravo 235
DUPR£ (JULES) Deceased.
When Jules Dupre passed away in the early winter of 1889, the
last of a generation of artistic Titans was laid to rest after labors
whose results will be imperishable in the art of the world.
Born at Nantes in 1812, Dupre was one of the mighty little
legion that redeemed French art from the lifelessness of classi-
cism and made it human and supreme. He was born to a heri
tage of poverty, and learned his first lessons in the humble
porcelain factory of his father ; but nature provided him with a
school to whose lessons his genius was actively alive. The in-
fluence of his early studies prolonged itself into his remotest
age. He was always the student of nature, who carried his
book and his palette into the fields and forests, and who taught
himself to walk with art and literature side by side. In 1831
Dupre contrived to find his way before the public as a painter.
On capital earned by painting china and clock-faces, he found
his way to Paris, where the great dead spoke to him at the
Louvre out of the canvases of Hobbema, of Ruysdael, . and
Constable. In the Salon of 1831 he showed five landscapes, so
46
THE SENEY COLLECTION.
full of nature, so strong in style and direct in expression, that
they commanded immediate attention. Fortune was more kind to
him than she commonly is to genius. The Duke of Orleans, the
greatest art connoisseur of the day, found him out, and so he was
successfully launched. Patronage grew. He was not only able
to aid himself, but he was happy in the ability to reach out his
hand to his brother geniuses. Rousseau owed him mueh. Mil-
let was sustained by his zealous friendship. It was as if the
noble heart of the nature he loved had entered into the man.
Throughout his long life, the same great and unselfish spirit
added to his honors. In 1833 he received his first Salon medal.
In 1849 he was received into the Legion of Honor, and in 1870
elected an Officer. At the International Exposition of 1867 he
achieved a triumph with twelve masterpieces. One by one he
saw his comrades of the days of struggle drop away from him.
At last, in his cottage at Isle- Adam, he remained alone in a vig-
orous and healthy age, with his books, his pictures, and the
memories which he unbosomed to the frequent guest of the
newer generation in art, who always found a welcome at his
board.
PAGE
No. 32
Autumn
• 145
No.. 53
The Old Farm .
. 155
No. !3°
The Brook
. 196
No. T53
In the Channel .
. 208
No. r93
The Farm
. 228
No. 23°
Marine
. 248
No. 268
At Sea
. 269
No. 292
Sunset
. 283
No. 293
Moonlight
,
. 284
DUPRE (JULIEN)
Paris.
Originally a student of the figure under Pils and Lehman,
Julien Dupre was doubtless directed in the path he has chosen
INDEX AND BIOGRAPHICAL NOTES. 47
by his association with Laugee. Already, in 1876, he was a
painter of rustic scenes, in which landscape and figures pre-
served an admirable balance, as his "Harvest" showed. In
1880 his two pictures at the Salon won him a medal of the third
class, to which others have since been added. He painted at this
period in a mellow and warm tone, with a heavy impasto and
powerful drawing. By degrees he abandoned this manner for
the higher key and brighter atmospheric effect inseparable from
painting much in the open air, while his drawing has also
become more delicate and refined. His pictures in which the
human figure and cattle are combined in the composition, show
him to be a master of form, while in landscape he paints with
commensurate skill. Among the younger painters of France no
talent belter equipped or more symmetrical has developed itself.
Dupre is a native of Paris, where he was born in 1851, and is a
nephew of the great landscape painter, Jules Dupre.
PAGE
No. 68 In the Hay field 164
EDELFELDT (ALBERT) Paris.
One of the most capable and successful of the many men of
ability who constitute the foreign painters' colony in Paris is
Albert Edelfeldt. He is a native of Finland, and was born at
Helsingfors. His talent evinced itself in a degree that con-
quered the drawbacks attending upon an art education in the
north of Europe, and after such rudimentary training as he
could acquire in his native city, he began painting in a modest
way on his own account. His evident talent and sincerity won for
him an encouragement, thanks to which he was enabled to journey
to Paris, where he entered himself as a student at the Ecole des
Beaux Arts. He perfected and polished his technique as a student
in the studio of J. L. Gerome, but has never been influenced by
his master's choice of subjects. With that often touching fidelity
to Fatherland which rules the Northern and Saxon races, he
looked, from the gayety and glitter of the city of his adoption,
48 THE SENEY COLLECTION.
back to his native land for the inspiration of its cool and spark-
ling waters, its windy skies, and its hardy toilers of sea and shore.
His earlier pictures were of a historical nature, it is true, gener-
ally of episodes concerning his national history, but he soon
drifted into a line of subjects which related to Finnish life and
manners, and by them he gained his first public distinctions.
He received a medal of the third class in 1880, one of the second
class in 1882, and at the last Universal Exposition in Paris was
one of the recipients of a Grand Prize.
PAGE
No. 69 Knitting 164
No. 123 A71 Interesting Book . . . .193
No. 185 77ie Last Passenger . . . . .224
No. 274 Lydia and Horace 273
FORTUNY (MARIANO) Deceased.
It was the vigorous and original style of Fortuny which spurred
modern Spanish art to a revival of life. Although he died
before he was forty years of age, he accomplished a work that
could scarcely have been improved upon in double the time
allotted to him. Much of his life was spent in Rome, where
he first went in 1856, as a winner of the prize and pension of
the Barcelona Academy, and his death was caused there by a
fever contracted while painting out-of-doors at an inclement
season. A Catalan by birth, Fortuny was possessed of all the
energy and progressiveness of that people, who are the leaders
of modern Spain in business and in art. It was in 1866 that lie
first went to Paris, almost unknown, except to local honor in his
f
own section ; but Zamacois, who recognized and honored his
genius, put him in contact with the house of Goupil, which
immediately began to push his claims upon the public. He
added to his reputation by marrying the daughter of the elder
Madrazo, in Madrid, in 1867. This union, by enlisting the
wide-reaching influence of the director of the Madrid Museum,
INDEX AND BIOGRAPHICAL NOTES. ■ 49
made him as famous throughout Spain as the patronage of the
Goupils did in France, England, and America. Fortuny's strong
personality formed him for a leader, and gathered to him many
gifted and distinguished followers. His studio in Rome was a
sort of court, in which all Spanish artists saluted him as mon-
arch. Among his friends was Professor Fernandi, a painter of
Malaga and afterward director of the art school there ; and it
was during a trip they made together to Naples that Fortuny
added to the picture of his comrade the figures and animated
accessories which give it life. The journey was made in the
summer of 1874. 'Within three months Fortuny was dead.
His name, which custom has abbreviated to that which his
genius made immortal, was Mariano Fortuny y Carbo.
PAGE
No. 210 Street Scene, Naples . . . .237
FRERE (PIERRE £DOUARD) Deceased.
It was left for a pupil of Delaroche and a student schooled in the
classicism of the period over which Delaroche ruled, to create
an art in which every convention of classicism was reversed and
a new world of subjects opened up for the painter. Rustic
childhood, the babyhood of the farm, the fields, and the village
provided Frere with the material upon which to found his
enduring fame, and the amiable and gentle spirit in which he
bent himself to his task is reflected in the naive charm of the
productions of his long and industrious life. Frere was born at
Paris in 1819. At about the time when the naturalistic move-
ment was sending the men of 1830 to Barbizon, he found his
settlement in the little town of Ecouen, north of Paris but a few
miles, where he was destined to found a school known through-
out the world of art, and of art collectorship. He was the
pioneer painter at Ecouen, but did not long remain solitary
there. Other artists followed him. and pupils gathered about
him, just as the colony formed itself at Barbizon around Rous-
seau and Millet. The charm of his subjects gained for him an
4
50 THE SENEY COLLECTION.
early popularity which was materially advanced by the extensive
publication of engravings from his pictures. He came out at
the Salon of 1843, but had produced pictures of fine quality as
early as 1835. In 1850 he received his first medal, and in 1855
the Legion of Honor. The enthusiastic championship of John
Ruskin opened the rich market of England for his works. He
was an early favorite in America. In Germany he was received
with open arms, and so strong was his hold upon that nation
that when the Prussians plundered Ecouen, his house and studio
were held inviolate by them. His death in 1886 was made an
occasion of general mourning among his confreres, and the
eulogy at his bier, pronounced by Bouguereau, was one of the
most noble tributes ever paid by an artist to the memory of a
friend and colleague.
PAGE
No. 102 Maternal Love ...... 182
FROMENTIN (EUGENE) .... Deceased.
It was accident which made Fromentin an artist. The son of a
well-to-do provincial lawyer, born in 1820 at La Rochelle, he
went at nineteen years of age to Paris, to qualify himself to
succeed his father. At twenty-three he received his diploma,
but a fit of illness, during which he solaced his enforced leisure
by gratifying his latent talent for drawing, turned him in the
direction of art. He studied under Remond and Cabal, and his
earlier works show little of the feeling of those which rendered
him illustrious. While he was making his first experiments as
a student, Prosper Marilhat was creating a profound impression
by his oriental landscapes, and Fromentin, who in 1840 had
visited Algeria for pleasure, found himself attracted to these
subjects in which the gifted pupil of Roqueplan excelled. After
his first exhibits in the Salon of 1847, Fromentin again visited
Africa. In 1849 he commenced to exhibit Algerine pictures,
and they won him a second-class medal. He improved on the
INDEX AND BIOGRAPHICAL NOTES. 51
model of Marilhat by making figures important accessories of his
landscapes, and was speedily recognized as the most sympathetic
and poetical painter of Arab life in France. The deficiencies of
his early schooling in art prevented him from becoming a strong
draughtsman, but he amply atoned for this by his marvellous
faculty of realizing character and action. He was a brilliant
and glowing colorist, and possessed a delicate appreciation of
the elegances of composition, while never losing sight of nature
in artificiality of arrangement. His influence as the founder of
a school of oriental art was recognized by first-class medals in
1859 and 1868, and in the former year he received the Legion of
Honor, being made an Officer ten years later. He was as brill-
iant a writer as a painter. His picturesque works on Arabian
life are accepted as standards, and his volume on the old masters
of Holland and Belgium is an authority in criticism. He also
wrote a romance, and many stories and essays. One of the most
cultivated and high-minded men of his time, he performed his
double labors of the brush and pen with a singularly happy
reciprocity of feeling, and his death, in 1876, left in the front
rank of French art a vacancy which has never been filled.
Followers and imitators he has had many, but among them no
successor to him has arisen.
PAGE
No. 54 The Gazelle Hunt . . . . .156
No. 134 The Wheat Harvest 198
No. 157 The Meeting for the Chase . . .210
No. 215 A Wind Storm 071 the Plains of Alfa . 240
No. 238 The Return from the Chase . . .252
No. 278 On the Alert 275
FULLER (GEORGE) . . Deceased.
The appearance of George Fuller was one of the memorable
events in the modern art of America. His individuality was
so marked and the place he created for himself so unique that
52
THE SENEY COLLECTION.
he represents a distinct epoch of the history of painting on the
Western continent. Too modest and retiring, of too poetical
and sensitive a nature to aspire- to the position of a. leader and a
creator of a school, he yet, by the power of his art alone, gave
a strong impetus and a new direction to the art of his contem-
poraries. He was born at Deerfield, Mass., in 1822, and went,
as a youth of twenty, into the studio of Henry Kirke Brown at
Albany, N. Y., where he commenced the study of sculpture.
The art was too cold and formal for his temperament, however,
and we next find him practising in a humble way as a portrait
painter, and studying such works of his predecessors as he found
accessible. After wandering about the country, and painting
for a time in Boston, he settled in New York, where for twelve
years he labored steadily, accumulating sufficient means to en-
able him to make a tour of Europe. It was through his study
and observation abroad that he came into the style by which he
is most distinguished, a style which is melodic with simple and
tender poetry of thought and treatment. Once entered upon
this field, he painted steadily on, indifferent to popular patron-
age or praise, a true artist, devoted to his art in utter unselfish-
ness and sincerity. In 1876 an exhibition of some of hisjand-
scapes and ideal heads created a critical sensation in Boston,
and secured an endorsement which convinced the artist that he
had made no mistake in his method of expression. The support
of the critics was followed by that of the collectors, and his
works found a representation in private galleries throughout the
country. His fame was at its height, and his honors were
steadily augmenting when, in 1884, he died, leaving his life-
work to be crowned by a triumphant Memorial Exhibition of
his works in Boston, where he had located his studio. Mr.
Fuller was made an Associate of the National Academy of
Design in 1857, and only his neglect to exhibit during later years
with that institution prevented his admission to full member-
ship. As a colorist and a painter, his death was a loss to the
art of America which has not yet been replaced.
No.
255
Fedalma
FAGE
262
INDEX AND BIOGRAPHICAL NOTES. S3
GER6ME (JEAN L£ON) Paris.
A great. French critic once described J. L. Gerome as standing
at the head of modern scholarly art. The phrase was apt. The
most striking characteristic of his art is the idea it conveys of
vast knowledge, and of logical and searching study, apart from
the technical perfection of the art itself. The artist and the
scholar are indeed closely united in the pupil of Delaroche, who
followed his master into Italy half a century ago, and who in
all the years that have since elapsed has never quite forgotten
the classical lessons of his youth. Gerome was born in Vesoul
in May, 1824. In 1847 he won his first medal, although he
failed to secure the Prix de Rome. He consoled himself for the
latter loss by visiting Russia and Egypt on his own account, and
while he found little in the former country to attract him, he as-
sembled in the latter the first installment of that material by
which his greatest popularity has since been gained. In spite
of his " Phryne," his "Diogenes," his " Alcibiades," and the
rest of a long list of powerful and remarkable classical and
historical subjects, the Gerome who will be best remembered
by the world is the Gerome of Egypt and of Africa, the painter
who has made these countries live as picturesque facts for us,
where Delacroix and Fortuny and their followers and imitators
have made them the subjects of romances of color and of sub-
ject. It is not astonishing that an artist of so symmetrical and
well rounded a genius should be an able sculptor as well as a
painter. Gerome, as long since as 1878, received a medal for
sculpture, and some of his plastic productions are likely in the
future to receive the honor that falls to the sculptor of the first
rank. Every official honor that falls to the French master of
our time has fallen to him. He has been a Commander of the
Legion of Honor since 1878, a Member of the Institute since
1875, a Professor of the Ecole des Beaux Arts since 1863. His
medals of gold and silver fill a cabinet. The Medal of Honor,
that crown and glory of an artist's ambition in the Parisian con-
test for fame and fortune, came to him thrice. In every art
museum of his native country and most of the great public gal-
54 THE SENEY COLLECTION.
leries and private collections of the world his works find repre-
sentation. Perhaps no artist ever lived who enjoyed a greater
share of the rewards of genius during his lifetime. Certainly
few have had as many bestowed upon them while their capacity
for profiting by them was yet unimpaired.
PAGE
No. 246 The First Kiss of the Sun . . .256
GIFFORD (ROBERT SWAIN), N.A. . New York.
About a quarter of a century ago, a now forgotten Dutch ma-
rine painter, Albert Van Beest, was settled at New Bedford,
Mass., where, what with the whaling and fishing fleets and the
scenery of the convenient coast, he found busy employment for
his brush. Among the not over-numerous young New-England-
ers who took a real interest in his work was Robert Swain Gif-
ford, the son of townspeople who had brought him from the
Island of Naushon, Mass., where he was born. The boy had
been given a sound education, with a view to promoting his for-
tunes in business life, but displayed such a marked taste for
drawing that his artist friend encouraged him to cultivate it.
So young Gifford became a pupil of Van Beest, and in time,
after a fashion, his assistant. In 1864 he was sufficiently ad-
vanced to open a studio for himself in Boston, and in 18C6
he found himself still further able to remove to New York,
where, save for his periods of travel, he has since resided. In
1867 he was made an Associate of the National Academy, and
after a couple of years of successful labor was enabled in 1869
to make extended sketching tours of California and Oregon, which
he followed, in 1870 and 1871, with trips to Europe and North
Africa, which he repeated in 1874 and 1875. From each of these
wanderings he came back artistically strengthened and improved
by study and observation. Not having been hampered by any
special school, he had cultivated an original style, and his works
were characterized by a strong treatment and a simple but fine
and harmonious color. He was especially happy in his rendi-
INDEX AND BIOGRAPHICAL NOTES. 55
tion of American landscape, which he invested with strong char-
acter and much poetical sentiment. In 1865 he commenced
painting in water colors, in which medium he speedily became
as proficient as he was in oil, and he was one of the founders of
the American Water Color Society in 1866. At the Centennial
Exhibition in 1876 he was awarded a medal of honor for paint-
ing in oil, and in 1S73 he became a full member of the National
Academy. His '' Near the Coast," which was awarded one of
the $2,500 prizes at the First Prize Fund Exhibition at the
American Art Galleries in 1885, is now in the Metropolitan
Museum collection. Mr. Gifford has won distinction as an
etcher as well as painter. He is a member of the New York
Etching Club and of the British Society of Painters Etchers, and
was one of the most influential of our artists in bringing about
the revival of etching in America, which has produced such note-
worthy results of recent years.
PAGE
No. 33 Woods in Autu?nn . . . . . 145
No. 112 Midsuimner, Dartmouth . . . .187
GRISON (JULES ADOLPHE) .... Paris.
It is a curious fact that one of the most accomplished and spark-
ling painters of the costume school in Europe to-day, a man
whose eminence the future will assuredly acknowledge, is, apart
from his works themselves, almost entirely unknown to the
world. Jules Adolphe Grison is a native of Bordeaux, and he is
a pupil of Lequien. His subjects, almost entirely drawn from the
life of the seventeenth and eighteenth centuries, exhibit him as
an artist of infinite humor, acute judgment of character, and
technical skill of a rare order. His color is gay and brilliant,
his touch rapid and clear, and he possesses the faculty, once
unique with Meissonier, of imparting to his minutest cabinet
compositions the solidity and breadth of works of the largest
scale. While his productiveness is chiefly concentrated on pic-
tures of the cabinet size, he has completed larger ones which
56 THE SENEY COLLECTION.
show him to be equally at home in the more ambitious dimen-
sions to which they are adjusted. He paints interiors rich in
detail, and landscapes bright and smiling in the sun, with a com-
mon felicity, and his hand is as ready in the delineation of the
most dazzling sunlight effects as in the ripeness of the most
sumptuous shade.
PAGE
No. 47 The Bachelor's Toilet . . . . 152
No. 103 The Critic 183
No. 299 Retribution . . . . . .288
GUY (SEYMOUR JOSEPH), N.A. . New York.
In 1854, the artistic colony of New York received an accession
whose merit assured its welcome. Seymour J. Guy, an English-
man from Greenwich, and a pupil of Buttersworth and of Am-
brose Jerome, crossed the Atlantic to make his home in the New
World, and, as circumstances proved, to assist in the building up
of its art. Mr. Guy commenced his labors in America as a por-
trait painter, with considerable pecuniary and artistic success.
Emboldened by this, he made some essays in genre subjects
which secured a ready favor and laid the real foundation of his
reputation. In 1861, he was made an Associate of the National
Academy for one of these works, and in 1S65 he became a full
Academician. A man of amiable personality and domestic tastes,
he chose his subjects from the field of home, which makes the
most direct appeal to the public heart. A painter of sound
technique, good in color and in drawing, and conscientious to a
degree, he never passed from his easel a canvas upon which he
had not expended the resources of his art. As a consequence he
has produced comparatively few pictures in proportion to the
years and regularity of his labors, and has sustained in them a
level excellence of quality not always to be found in any single
artist's productions. It has been well and truly said of him that
in his pictures which relate to scenes and incidents drawn from
child-life, with their rich color, their delicacy of finish, and the
INDEX AND BIOGRAPHICAL NOTES. $f
charming sympathy with which he translates the spirit of his
subject, he has no superior in American art.
PAGE
No. 63 Making a Train 161
HARLAMOFF (ALEXIS) .... St. Petersburg.
One of the first native painters of Russia to contribute his share
toward the creation of an art for his country during this genera-
tion was Alexis Harlamoff. He was born at Saratoff in 1849,
and a precocious talent led to his being sent in boyhood to St.
Petersburg, where he became a student in the classes at the
Academy. He studied painting under Professor Markoff at
the Academy, and in 1870 succeeded in winning the prize which
entitled him to a period of study in Rome at the Government
expense. From Rome he went to Paris, where he studied under
Bonnat, and, with the wandering and eclectic spirit of his nation
strong within him, he also spent several years of independent
experiment and development in Belgium, Holland, and Ger-
many. In 1878 he won a second-class medal in Paris, and was
made a member of the St. Petersburg Academy. His paintings
are characterized by graceful drawing and agreeable color, and
apart from his works of genre, which are his most characteristic
productions, he has executed a number of portraits of historical
importance as associated with the nation of his nativity. Among
those of the first note are to be mentioned the best portrait
known of the Czar Alexander II., and a striking and strong
individualization of the great Russian novelist, Ivan Turgenieff.
PAGE
No. 264 The Flower Girl , , . . 267
HARRISON (THOMAS ALEXANDER) . . Paris.
Of three brothers, each of whom has made a distinct artistic
impression, the painter of "'La Crepuscule" and of " Arcady"
58 THE SENEY COLLECTION.
is the leader in years and the chief in artistic cultivation.
Thomas Alexander Harrison was born in Philadelphia, on Jan-
uary 17, 1853. His early studies at the Pennsylvania Acad-
emy of Fine Arts and in the San Francisco Art School were
succeeded by his settlement in Paris, where he entered himself
as a student at the Ecole des Beaux Arts, and as a pupil of
Gerome. There are no indications of this master to be dis-
covered in his style, however, for, with the rest of the gallant
young band who went to nature for inspiration and for subjects,
he soon passed from the influence of school, carrying with
him, however, the admirable technique upon which he created
his later style. In the Salon of 1880 his first exhibit, a scene
on the Breton coast, marked him out as a man to be watched
with interest, and two years later, his "Castles in Spain"
denoted that critical judgment had not gone astray. This
picture, representing an idle lad basking in the sun on the
sea-shore, nnd building air-castles to the chorus of the waves
on which his boyish fancy goes adventuring, has become
widely known by reproduction, and secured for the painter
the commendation and support from artists, critics, and con-
noisseurs which is the artist's best encouragement. Other
works of equal quality followed in steady succession, and in
188-5 a representation of surf and sea, under a rising moon,
called " La Crepuscule," secured one of the $2,500 awards of
the First Prize Fund Exhibition at the American Art Galleries
in New York, and is now in the galleries of the St. Louis
Museum, to which it was assigned. This sincere and powerful
work had secured for the artist an honorable mention in the
Salon of that year. At the Paris Universal Exposition, 1889,
he was awarded a gold medal, and made Chevalier de la Legion
d'Honneur and Officier d* Instruction Publique. From the
Salon of 1890 his picture, " Paysage, Une Riviere," was pur-
chased by the Societe Nationale des Beaux Arts, for the
national collection of France. The same year his picture
" Arcady " was awarded a medal at the Munich Salon. He
was appointed a member of the jury of the Salon Champs de
Mars, 1890. Mr. Harrison is in his art essentially a realist,
INDEX AND BIOGRAPHICAL NOTES. 59
which means a painter of realities, and also an impressionist, in
the sense of having the faculty of experiencing and conveying
the sentiment of a subject. When he paints the figure he en-
dows it with the substance of life ; his landscapes carry with
them the impression of sunlight and air, and his sea has the
mystery of fathomless depths beneath its painted waves.
PAGE
No. 201 La Crepuscule . . . . . .232
HEBERT (ANTOINE AUGUSTE ERNEST) . Pans.
More than half a century ago, there was a young law student in
Paris who worked in his leisure as an amateur sculptor in the
studio of David of Angers, and as a painter in the atelier of
Paul Delaroche. He was born in Grenoble, in 18 17, and was
generally looked upon as a likely great barrister and art col-
lector of the future. In 1S39 he graduated as a lawyer. The
same year he astonished every one by taking the Prix de Rome,
and going off to Italy to devote himself altogether to the
study of art. The museum at Grenoble purchased another of
his pictures the same year, and the general anticipation was
that he would go on adding success to success. However, in
Hubert's case it has always been the unexpected that happens.
He exhibited no more until 1848, but in 1850 he sent to the
Salon a picture called " The Malaria," which fascinated Paris
and spread his fame throughout the world. The subject was an
Italian peasant family flying in a boat from the deadly fever
that ravages the Pontine marshes. Thenceforth Hebert's
artistic position was assured. He painted historical, biblical,
and genre subjects and portraits, and found for everything a
ready acceptance. Poetry of conception, elegance of execution,
and a fine feeling for color were his characteristics. To a first-
class medal in 1851 was added the Legion of Honor in 1853,
and in 1874 he was created a Commander of the Order. The
same year saw him admitted a Member of the Institute, while
foreign governments added to his share of honors. From 1866
60 THE SENEY COLLECTION.
until 1873 Hebert was Director of the French Academy at
Rome, and in 1885 he was again appointed to the position,
which he still holds. In latter years he has devoted himself
largely to works of a more allegorical and sentimental character,
in which direction he has produced some remarkable decorative
pictures. His works have an invariable distinction, a true
sentiment, perfection of drawing, and a perfectly Venetian rich-
ness of color. A man of strong mind and profound thoughtful-
ness and seriousness of purpose, his place in modern art is one
which can be filled by himself alone, and for which there will
be no substitute when he passes away.
PAGE
No. 9 Flora 133
No. 170 Music 216
HEFFNER (KARL) London.
The proverb which notifies us that a prophet requires to go abroad
in order to have his gifts of prescience recognized at home, is
amply illustrated in the case of Professor Heffner. England had
long accepted, honored, and rewarded him as a painter of the
foremost rank, before Germany awoke to a critical comprehen-
sion of his existence. She has since atoned for her negligence
by loading him with praise, so that the debt may be regarded as
in part paid. Professor Heffner was born at Wurzburg in 1849.
He received his training at Munich, but did not really find his
way into his proper path until he went to London and discovered
in the scenery of England that which most directly and strongly
appealed to his sentiment and temperament. He has painted
Continental subjects of all varieties, from Italy to the remote
North, but his English landscapes are those in which his greatest
art is displayed. The alliance of land and water is his favorite
theme. Wide rivers, showery skies, wastes of marshland, and
the luxuriant vegetation of drowned meadows and groves rooted
in the moist soil of alluvial streams, provide him with his best-
loved material. Among these he is at home, as Daubigny was
INDEX AND BIOGRAPHICAL NOTES. 6l
on the placid current of the Oise, as Millet was in the fields of
Barbizon, and Corot among the silvery willows of Ville d'Avray.
Next to his English subjects in quality will probably rank his
views in the Pontine marshes, amid whose picturesque and ma-
larial solitudes he has secured many striking and finely rendered
passages for his brush. Until very recently, the collectors of
England absorbed most of his productions. Since special ex-
hibitions have been made of them in Germany and New York,
the wider range of collectorship contends for their possession.
PAGE
No. 198 The Gloaming 230
HENNER (JEAN JACQUES) ... . Paris.
Sixty years ago there entered the studio of Gabriel Guerin, at
Strasbourg, a rustic-looking young Alsatian named Henner. He
had been born at Bernweiler in 1829, and had already developed
a marked gift for drawing. After some seasons under Guerin,
which witnessed in him a rapid improvement, he went to Paris,
where he entered the Ecole des Beaux Arts, and became a pupil
of Picot and of Drolling. In 1858 he succeeded in winning the
Prix de Rome, which gave him five years of study in Italy, fol-
lowing which he visited and painted in Dresden, and travelled
extensively in Holland. Commencing as an historical and por-
trait painter, he eventually settled down to the practice of the
loftier and more refined form of naturalism, the idealization of
human beauty into the poetry of art. No painter since Titian
and Correggio had succeeded in securing in the rendition of the
nude such charm of color and purity of expression, and he was
not long in creating a unique place for himself in his art. His
" Susannah," in 1864, carried the day for him in Paris, and was
purchased for the Luxembourg Gallery, of which it is one of the
masterpieces. Among his nymphs and Magdalens Henner pro-
duced also a number of paintings on religious subjects, of a
grand style of execution and a noble elevation of feeling. One
of his most original and dignified works of this order is his
62
THE SENEY COLLECTION.
"John the Baptist," the head of the decapitated saint being
shown on a salver, and being a masterly portrait of one of the
artist's friends. Henner received his first Salon medal in 1S63,
since which time the full complement of national honors has been
successively accorded him. He was received into the Legion
of Honor in 1873, and became an Officer in 1878. Henner, in
speaking of himself, tells a touching tale in honor of his family.
His father, a poor carpenter, was the first to appreciate and
encourage his son's talent, denying himself that the boy might
be advanced. When, worn out with ceaseless toil, the old man
passed away, he bequeathed the duty he had assumed to his
children, and they, in their turn, labored to keep up and develop
the brother of whom they were so proud. It may be added that
Henner was worthy of their sacrifices, and that the splendor of
his genius and the substance of its rewards have enriched those
to whose unselfish devotion he owes the cultivation of the one
and the possession of the other.
No. 55 Ideal Head
PAGE
. I56
HOVENDEN (THOMAS), N.A.
Philadelphia.
A picture of unusual attractiveness at the Paris Exposition of
1878 was entitled "A Breton Interior, 1793." It was a his-
torical genre of the Vendean wars, painted with much force and a
strong realization of character. The artist was Thomas H oven-
den, a native of Dunmanway, Ireland, where he was born in
1840, but for a number of years a resident of America. He
had received his first instructions at the Government Art School
of his native city, and coming to the United States in 1863, had
continued his studies at the National Academy of Design,
working for a living by day and toiling in the night classes after
dark. In 1874 he had made such progress that he resolved to
devote himself entirely to art, and, going to Paris, he was for a
year a pupil of Cabanel, and for a number more a student at
the Ecole ties Beaux Arts and a member of the famous foreign
INDEX AND BIOGRAPHICAL NOTES. 63
artistic colony at Pont Aven, which Robert Wylie had founded.
His first original works were all of Breton subjects, but since
his return to America, in 1880, he has found his material in the
native life about him and in our national history, to both of
which his brush has contributed important illustrations. His
first important picture upon his return was. however, of a poet-
ical subject, " Elaine," and upon the exhibition of this work, in
18S2, he was elected a member of the National Academy. His
studies of negro life, so true in character and delicate in
humor, enjoyed the widest success, and his " John Brown Being
Led to Execution,'* at the Academy of 1884, established his
reputation as a painter of history. His "In the Hands of the
Enemy," at the Academy of 1889, representing an episode of
the Battle of Gettysburg, was the centre of attraction for the pub-
lic at that exhibition. Mr. Hovendenhas won a separate reputa-
tion as an etcher, by the production of some powerful plates after
his own pictures, and he is a member of the Society of Ameri-
can Artists, the American Water Color Society, and the New
York Etching Club.
PAGE
No. 34 Grandfather s Commission . . .146
HUGUET (VICTOR PIERRE) .... Paris
Having learned to draw with a compass and a ruler in an arch-
itect's office to please his parents. Victor Pierre Huguet entered
as a student at the Marseilles Academy to please himself. He
found a good master there in Loubon, who is less known as a
painter than as the friend of Millet and the other great artists of
the Barbizon group. Loubon was one of those men who have
the gift of teaching, and under his guidance the feet of young
Huguet did not stray from the path. He spent a year in Egypt
after leaving the academy, and when Duraud-Brager was sent
on a commission to the East, it was Huguet's good fortune to
be taken by him as his aide. They were at Constantinople at
the outbreak of the Crimean war, and after serving through it on
64 THE SENEY COLLECTION.
the fleet, Huguet went back to Egypt again. In 1858 he
settled in Paris, and in 1859 he exhibited for the first time at
the Salon, he being then twenty years of age. A fortunate sale
of pictures in 186 J enabled him to visit Algeria, and here he
commenced the series of subjects from that colony by which he
has become known. He has practically made Algeria his home,
for he has his house and studio there, and is more a visitor to
than a resident in Paris ; consequently, his scenes of the camp
and the desert are really painted on the spot. The glaring and
blinding brilliancy of sunlight with which he pervades his pict-
ures, is the light in which they are executed, mirrored, as it
might be, on the canvas by the magic of his hand. Huguet's
first Algerine picture, which he exhibited in Paris in 1866, was
purchased by the Government, and since that time his works
have been acquired for the local art museums of all the greater
French cities, and have even found a place in the palace of the
Sultan at Constantinople. He stands supreme among living
painters of oriental life and scenery, both as a colorist and a
delineator of the natural features of the country and of human
form. Although ranked among the impressionists, he is in fact
a realist of extraordinary finesse and force of technique.
PAGE
No. 60 Bathing the Horses . . . . . 159
INNESS (GEORGE), N.A New York.
The voice of criticism is unanimous in according to George
Inness the place of first eminence in American landscape art.
His fame is international, and his pictures are received abroad
with equal honor to that which they enjoy at home. He paints
nature as other men paint history, and gives to his least sig-
nificant studies a touch of that grand style which characterizes his
more matured works. He was born at Newburgh, N. Y.,in 1825,
and commenced his art life as an engraver on steel. A some-
what frail physique and consequent ill health from the confine-
ment of his profession forced him to abandon it, never to take it
INDEX AND BIOGRAPHICAL NOTES. 6$
up again. During the years of his boyhood his health precluded
any absorbing study, and it was not till he was twenty years of
age that he received any formal lessons in painting. These were
imparted to him by Regis Gignoux, and constitute his entire art
study under instruction. He, however, studied much after his
own fashion, and having married in 1850, was enabled, by the
friendly liberality of a wealthy patron, to visit Europe. He
began to paint in the elaborate and detailed style then in vogue,
but the bent of his own ideas, and experience with the works of
others during his various visits and residences abroad, gradually
strengthened and broadened his manner, and created in him that
self-reliance and individuality of thought which reflect them-
selves in his later work. A student of all that was good, irre-
spective of schools or methods, a thoughtful and analytical
nature, and the capacity to create out of facts new combinations
and applications of them, in time produced their natural result
in him. It is to be noted that Mr. Inness is one of the few of
our older artists who have in their art remained young. He has
never ceased to advance. One style was but the stepping-stone
to another, and all experience has been to him " an arch where -
thro' gleams the untravelled world, whose margins fade forever
and forever from the sight." A grand figure in our art, and an
immortal one, he still preserves in his life the simplicity and
frankness of his earlier years ; and, living for his art alone, is
yet independent of his art, a personality of singular and fascinat-
ing interest. Mr. Inness was elected to an Associateship of the
National Academy of Design in 1853, and in 1868 became a full
Academician. His works, which are practically a record of his
art life, include many episodes of European as well as American
landscape, and they culminate in the magnificent series of native
subjects which he has executed during the past decade of his
ceaselessly industrious career.
PAGE
. I31
. 147
, I52
. 163
No. 4
Sunset ....
No-. 37
Springtime, Medfield, Mass.
No. 46
The Last Glow
No. 66
Winter Moonlight
5
66
THE SENEY COLLECTION.
No.
116
No.
136
No.
156
No.
168
No.
182
No.
214
No.
224
No.
247
Twilight .
Sunset
October
A Virginia Sunset .
The Coming Storm .
Sunset, Nantucket
Moo?ilight in Virginia
The Evening Glow .
PAGE
. I89
• *99
. 209
• 2I5
. 222
• 239
. 244
• 257
ISABEY (EUGENE LOUIS GABRIEL)
Deceased.
The son of a famous master of miniature art, Eugene Isabey
lived to overshadow his father's fame. He was born at Paris
in 1804, and commenced his career as a painter of genre. He
early began to experiment in marine painting as well, and
during all his long career divided his labor between these two
lines of subject. He received a first-class medal as early as
1824, and in 1827 was awarded another, the first being for a genre
and the second for a marine picture. In 1830 his fortune was
finally assured by his appointment as royal marine painter with
the expedition to Algiers. His works were received into the
most important museums of France, and collectors contended for
them for private galleries. To a sumptuous and glowing palette,
Isabey allied a remarkable nervous facility of handling, which
gave to his pictures a vivacity and sparkle of execution in keep-
ing with their splendor of color. His style was thoroughly
original and his sense of the picturesque so strong, that the sim-
plest subjects acquired an interest through his treatment of them.
He belonged to the romantic rather than the realistic school, and
the same spirit which animated Hugo and Gautier in literature,
inspired him in his art. He was as successful in water colors as
in the more powerful medium, and the many lithographs which
he at one time executed are now highly prized. Having had the
Legion of Honor conferred upon him in 1832 for his pictures
during his Algerine expedition, he became an Officer in 1852.
INDEX AND BIOGRAPHICAL NOTES.
67
Ceaselessly active during a career of over sixty professional years,
he left perhaps fewer works unworthy of his genius than any
other painter of his period. His fortunate gift of impressing
himself thoroughly on everything he touched never deserted
him, and his command of color remained with him to the last.
He died in 1886, and the sale of his studio collection was one of
the art events of the Parisian year.
PAGE
No. 8
The Black Squall
■ 133
No. 108
On the Jetty
. 185
No. 135
The Fisherman' s Family .
. 199
No. 228
The Wedding Festival
. 247
No. 307
St. Hubert's Day
. 293
ISRAEL,
5 (IOSEF)
Amsterdam.
Josef Israels, who stands beyond peer at the head of the Dutch
art of modern times, was born at Groningen in 1824. He be-
came a pupil of Cornells Kruseman in Amsterdam, from whom
he learned the frank and simple style that has characterized his
native art since the days of the older masters. From the studio
of Kruseman he wandered to the altogether antithetical atmos-
phere of the Picot atelier in Paris. The result of his studies
was a historical composition in imitation of the grand style,
the subject, which was shown in 1855, being " William the
Silent Defying the Decrees of Spain." Its comparative failure
directed the artist's talent into a more congenial channel, and
he commenced the production of those genre pictures with
which his name will be forever associated. He sought his sub-
jects, as all of the great paraters of Holland have, in his own
land, and in the life of its rustic and semi-maritime population
found his best inspiration. He has done for the peasantry of
the Netherlands what Millet did for that of France, but with a
more hopeful and less tragic spirit. The pleasures and pains of
the poor he treats with a tender brush, through which flows the
sentiment of a sympathetic heart. His color, rich and subdued,
68 THE SENEY COLLECTION.
but never sombre, lends to his works a noble seriousness and
adds to their human sentiment a distinct poetic charm. It has
been through productions of this character that Israel's fame
has come to him. Medalled in Paris in 1867, in the third class,
he received a first-class medal in 1878. Received into the
Legion of Honor in 1867, he became an Officer in 1878. It was
always to the painter of humble Dutch life that the French
juries extended their honors, and his earlier essays at historical
composition are forgotten in his later fame, and disdained by
himself since his genius received its true direction and com-
menced to earn him the position which he legitimately holds in
the art of Holland and of the world.
PAGE
The Fisherman' s Children . . .140
Making Pa?icakes . . . . .150
Home Duties . . . . . .184
The Sailboat . . . . . .202
The Frugal Meal 222
The Fisherman's Daughter . . .236
When One Groivs Old . . . .268
298 Infancy a?id Age 287
JACQUE (CHARLES EMILE) .... Paris.
Charles Emile Jacque is the last survivor of the era of artistic
revolution in France which has revolutionized the art of the
world. His early life was even more varied and laborious than
usual with the men of 1830, but happier in having involved fewer
vicissitudes for him.. Born in 1813, he was in early life a map
engraver and a soldier. Later he practised engraving on wood,
from which he rose to drawing and etching. The practical side
of his character enabled him to escape those severe privations
which harassed many of his gifted contemporaries, and gave
him opportunities for artistic experiment which resulted in his
early acceptance as a painter of landscape and animals of the
No.
23
No.
43
No.
106
No.
142
No.
181
No.
208
No.
266
No.
298
INDEX AND BIOGRAPHICAL NOTES. 69
first rank. His earliest exhibits were of etchings and engrav-
ings, and though he began to paint in 1845, and was medalled
for engraving in the Salons of 185 1, 1861, and 1863, it was not
until 1861 that he received official recognition as a painter. In
1867 he received the Legion of Honor. Jacque is by choice a
painter of rustic life with a predisposition to the humbler animal
side of it. His hobby for a longtime was for poultry. He bred
fowl, even wrote a book upon them, and made them the most
important accessories of his barnyard and village scenes. The
pig found also its share of favor at his brush, but his most rep-
resentative and characteristic pictures are those in which sheep
play a prominent part. His early training renders him a firm
and precise draughtsman, and his handling of color is broad,
decisive, and powerful. While extremely careful and accurate
in detail, he never descends to over-elaboration, and his command
of textures in the delineation of animals is supreme. It has
been his good fortune to enjoy a high degree of deserved popu-
larity, and so great was the demand for his pictures that for a
number of years he did not appear as an exhibitor at the Salon,
which may doubtless account for his not having secured a longer
list of honors. Apart from his painting, Jacque has earned an
eternal meed of gratitude by his service in the revival of the art
of etching, and examples of his plates are now treasured rarities
in the portfolios of collectors.
PAGE
No. 5
No. 45
No. 109
Morning ....
Landscape a?id Sheep
The Hillside Pasture
. 131
• I51
. 186
No. 140
No. 203
No. 251
Stonny Weather
A Morning Call
The Shepherd .
. 201
. 234
. 260
JACQUET (JEAN GUST AVE) . . . Paris
A pupil of Bouguereau, Jacquet has chosen for his artistic avoca-
tion the perpetuation of the charms of womanhood. His genre
yo THE SENEY COLLECTION,
pictures and his portraits are almost entirely devoted to the fairer
sex, whose grace and beauty he renders with beautiful color and
a graceful brush. His female portraits especially have a
strength, expressiveness, and delicacy of tone that render them
essentially pictures. Born in Paris in 1846, Jacquet has always
been a thorough Parisian in his art. He commenced to exhibit
at the Salon before he was twenty years of age. In 1868 he
gained his first medal, and for a period produced pictures of a
historical character, the subjects being usually drawn from the
past. It was not until his admission into the Legion of Honor,
in 1879, that he began to give his attention to modern life. As
he himself says, when he began to paint, the fashion of the day
made the prettiest woman ugly and ungraceful, and he was
forced to go back to the sixteenth century for material. Since
the abolition of the crinoline he has returned to the present.
Jacquet owns in the Pare Monceau one of the most luxurious
studios in Paris, and his house is a perfect museum of antiquities,
many of priceless rarity and historical interest. He is strongest
and most brilliant in single-figure pictures, as a painter of which
he ranks among the foremost artists of France.
PAGE
No. 6 The Brunette . . . . . .132
No. 100 Winter .181
No. 169 Roused from Reverie . . . .216
No. 225 The Falconer 245
JOHNSON (EASTMAN), N.A. . . . New York.
At the head of American portrait and genre painters, and occu-
pying in society a position of equal honor and regard, Eastman
Johnson is a unique figure in our art of the present half of the
century. Born in Maine, he began as a young man to earn his
living by portraiture in crayons, in which he met with sufficient
success to enable him to make a voyage to Europe and spend
two years in Diisseldorf, where he first painted in oil. In Italy,
Paris, and Holland he perfected his powers, and here he exe-
IXDEX AND BIOGRAPHICAL NOTES. 7 1
cuted the first paintings by which he attracted attention. His
subjects were of the humble life around him, and in i860, when
he returned to America and became a National Academician, he
commenced to look for material in our own more picturesque
than pretentious surroundings. His delineations of domestic
life, his negroes and country children, pictures of farm labor and
merriment, and the rest, stamped him as an acute observer as
well as an able technician, and gave his excellence of style a
permanent place in popular favor. His was an art that grew.
The reflection of his early schools became absorbed in a thor-
oughly original style, characterized by fine, lich color, tender
depth of tone and great vigor of broad handling. In his por-
traits he often reached a truly historical grandeur of characteriza-
tion and execution. No American artist has ever exhibited
greater individuality or more decided independence in choice
and treatment of subject than the painter of " The Corn Husk-
ing " and " The Old Kentucky Home," to whom every phase
of American life seems equally accessible, and in whom New
England and the Great West, the North and the South, find an
equally sympathetic and truthful interpreter.
PAGE
No. 22 The Culprit . . . . . .140
No. u8 Sunday Morni?ig (in collaboration with
W. Whittredge, N.A.) . . . .190
No. 141 The Bath ...... 202
No. 227 The Pension Agent . . . . .246
JONES (H. BOLTON), N.A New York.
One of the present generation of American landscape painters
who has achieved a well merited success, H. Bolton Jones is an
illustration of how originality of ideas and singleness of purpose
may triumph over the influences of foreign travel and surround-
ings. Mr. Jones is a native of Baltimore, born in 1848, and
began painting in that city. He has travelled abroad, and his
72
THE SENEY COLLECTION,
style has been strengthened and rounded out by contact with the
great schools of modern art, particularly in France ; but in his
representation of native landscape he is ever and always original
and thoroughly national in thought and feeling. His preference
is for the simpler and least ostentatious phases of pastoral scen-
ery, and he has provided us with a valuable record in the many
admirable works which have left his easel. He adheres closely
to detail, but exercises a fine discrimination between detail and
over-elaboration. Bright and sunny scenes are those which he
most favors, and he paints them directly from nature. His
color is strong and clear, and his technique marked by a mas-
terly precision and decisiveness of touch. It was in 1874 that
Mr. Jones's first exhibit at the National Academy of Design was
made, the subject being " Summer in the Blue Ridge." At the
Centennial Exhibition, in 1876, his "Ferry Inn" gave a decisive
turn of critical favor in his direction, and his "Return of the
Cows, Brittany," won commendation for him at the Paris Expo-
sition of 1878. At the Salon and at all of our American exhibi-
tions of art his pictures have acquired renewed and increased
regard, and among private collectors they enjoy the highest es-
teem. Mr. Jones was elected an A. N. A. in 1881 and a National
Academician in 1883. He is also a leading member of the So-
ciety of American Artists and of the American Water Color
Society, and displays in the latter medium a proficiency and
power that equal his work in oils.
N o. 1 6 7 September
PAGE
2I5
KNAUS (LUDWIG)
Berlin.
Ludwig Knaus enjoys the unique distinction of being accepted
by Germany as her chief painter of genre, and by the world as
one of the leading masters in that walk. He owes this double
triumph to the variety and independence of his genius. Paint-
ing in Germany and delineating German subjects, he still does
so in a style so original, so brilliant, and so cosmopolitan that
INDEX AND BIOGRAPHICAL NOTES. /3
his pictures command the same attention from the stranger, and
exact the same respect and admiration for him, as they win for
him at home. Knaus was born at Wiesbaden, in 1829. He
was a pupil at the Diisseldorf Academy of Sohn and Schadow,
but his graduation in art, after a couple of visits to Italy, oc
curred in Paris, where he spent eight years studying the methods
of the French painters. It is to this that he owes the emanci-
pation of his style from the formality and mannerism of his
original schools, and of all German painters of our time, he is
probably the only one whom the French artists accept with
enthusiasm as one of themselves. In 1858 Knaus won his first
laurels with his magnificent picture, " The Golden Wedding,"
which he followed in 1859 with "The Baptism," and "The
Morning After the Kirchweih." Since i860 he has resided in
Germany, where he was at the head of a strong and growing
school in the Berlin Academy, until he resigned his professorship
in 1884. To Knaus has fallen nearly every honor the great
artistic institutions of Europe can accord. Medals and diplo-
mas have been conferred upon him. He was made a member
of the Legion of Honor in 1859, and has been received into the
chief academies of the Continent. The genial humor, fine
humanity, and keen comprehension of human nature revealed in
his pictures are a reflection of the character of the man himself,
and his amiable personality has largely aided his genius in
securing him an international popularity. He is a master of
technique and a colorist of the first quality. The uniform ex-
cellence of his productions has been noted as characteristic of
the man who, whether employed upon a simple study from
nature or upon the most elaborate and ambitious composition,
considers no work sufficiently well done upon which he has not
done his best.
PAGE
No. 21 Bettina . 139
No. 40 A Rustic Rose . . . . . .149
No. 84 The Goatherds 172
No. no The Coquette 186
74 THE SENEY COLLECTION.
PAGE
No. 1 60 The Invitation . . . . . .211
No. 183 Thoughts of Better Days . . . .223
No. 241 The Veteran . . . . . .253
No. 250 The Old Witch 259
No. 301 The Child's Funeral . . . .289
KNIGHT (DANIEL RIDGEWAY) paris.
D. R. Knight enjoys the distinction of being the only American
ever received into Meissonier's studio as a pupil. It was in 1876
that he came under the influence of this master, having been
previously a student of the Ecole des Beaux Arts and of Gleyre.
A Philadelphian by birth, Mr. Knight received his first art les-
sons at the Academy of his native city. He visited Paris at an
early age, returned to America once, and finally, in 1872, settled
permanently in France. His acquaintanceship with Meissonier
was accidental. The latter's brother-in-law, the painter Stein-
heil, and Knight occupied adjoining studios, and becoming
friends, Steinheil introduced his neighbor to Meissonier, who
took a fancy to him and became his friend and adviser. The
American became in no sense an imitator of the great French-
man, however. Indeed, from the time of his acquaintance with
him he ceased painting the small costume pictures by which he
was first known and began to devote himself to studies of peas-
ant life on a larger and broader scale. Through these he, in
time, became popular on both continents. Good character,
cheerful color, and an interesting choice of subjects form their
chief charm. A close observance of nature in its out-of-door
effects is to be noted in them. Mr. Knight was one of the first
of modern painters to set up his easel in the open air, and his
glass studio in the garden of his picturesque residence at Poissy
is famous. For a long time he exhibited regularly at the Paris
Salon and the National Academy of Design in New York, but
during recent years his works in this country are principally seen
INDEX AND BIOGRAPHICAL NOTES. ?$
in dealers' galleries and private collections, though he still con-
tinues his contributions to the Salon.
PAGE
No. 94 Day Dreams 177
LA FARGE (JOHN), N.A New York.
A painter of lofty ambitions and a sincerity that borders on de-
votion, it is natural that the impress of John La Farge upon the
artistic spirit of our time should be deep and lasting. No artist
of so superior an aim and of an art so highly intellectual, spirit-
ual, and poetical in feeling, could labor long without planting
good seed, especially in a soil as responsive as our own. Mr.
La Farge was born in New York in 1835, and was the son of an
eminent French merchant then settled in this city. He became
a pupil of William M. Hunt, but much of his artistic education
has been derived from independent study of the masters during
his frequent visits to Europe, which began in 1856. His first
public appearances as an artist were made with his illustrations
of the poets, and he was widely known as a very skilful and
original draughtsman on wood before he won his spurs as a
painter. His greatest achievement in graphic art was probably
his illustrations to Browning's poems, published in 1859. In
painting, modelling, and sculpture, he now appeared with invari-
able success. He painted landscapes and figures, pictorial,
decorative, and genre compositions, and in every medium, from
pure fresco to water color, with well-balanced skill, and made a
special study of glass- painting, to which he is now almost exclu-
sively devoted. The magnificent results of his labors in this
walk are to be seen in the memorial windows at Harvard Col-
lege, and various churches and public and private buildings of
this country, and his altar-pieces and mural decorations in oil and
wax colors are undoubtedly the finest works of their order that
American art has produced. Such of them as have been exhib-
ited abroad have extorted unqualified praise from foreign critics
and connoisseurs. In his easel pictures, which are now com-
76 THE SENEY COLLECTION.
/
paratively rare, Mr. La Farge produces gems of imaginative,
suggestive, and delicate art, breathing the soul of nature, and
with an organic strength and vitality of color. His flowers pos-
sess a peculiar excellence in their purity and charm of color, in-
spired by a fervent imagination, which gives to the humblest
object a portion of the artist's inmost life. Mr. La Farge has
recently visited Japan and brought back many souvenirs of his
sojourn there. He was made a Member of the National Acad-
emy in 1869, and is also a Member of the American Water Color
Society and of the Society of American Artists.
PAGE
No. 20 Autumn Landscape . . . . .139
LAURENS (JEAN PAUL) . . Paris.
The art of Jean Paul Laurens is an art of tragedy and dramatic
power, governed by an earnest and masterly intellect. Born at
Fourquevaux in 1838, and schooled at the Academy of Toulouse,
he completed his studentship in Paris under Cogniet and Bida,
and in 1863 appeared in the Salon as the painter of " The Death
ofCato." This work, while displaying great ability and force,
still reflected some of the influences of his masters, but the rough
school of labor through which he passed rapidly brought his
originality to the surface. For some years he travelled from place
to place, painting cheap decorations for country churches, until
the great encyclopedia compiler, Larousse, found him out and
purchased a picture which established his position and gave him
his firm hold upon fame. In 1869 he received his first medal,
and in 1872 a medal of the first class. He was received into the
Legion of Honor in 1874, and became an Officer in 1878, having,
in 1877, received the Grand Medal of Honor. One after another
he completed a series of magnificent and majestic historical pic-
tures, most of them of a tragic character, but all characterized by
vivid realization of their subjects and marked by the closest his-
torical and archaeological accuracy and the highest order of tech-
nique. He is preeminently successful in securing dramatic
INDEX AND BIOGRAPHICAL NOTES. JJ
effect in his compositions, without theatrical exaggeration, and
his types of character are always so well defined and true that
they have been justly called resurrections of history. Apart from
his historical productions Laurens has painted many splendid
compositions for the decoration of churches and other public
edifices ; he has produced water-colors in which his grave and
powerful art in oil is duplicated, and has contributed notable
designs in illustration of works for the publishers. He stands
without dispute at the head of modern historical art in France,
not only as a thinker and creator but as a technician and colorist
upon whom all the contending factions of art unite in acknowl-
edging a master in a place entirely his own.
PAGE
No. r>5 The Widow 162
No. l99 The Grand Inquisitor . . . .231
No. 297 The Separation 287
LEFEBVRE (JULES JOSEPH) . . . Paris.
The winner of the Prix de Rome in 1861 was a young man, a
pupil of Cogniet, born at Tournan in 1834, named Lefebvre.
His picture betrayed in him a scientific study of form and a
classical bent of feeling, and experience has only confirmed
this original impression. In 1865 he received his first medal
in the Salon ; and it was followed by others until, in 1870, he
was admitted into the Legion of Honor, for his masterpiece
11 Truth," which is now in the Luxembourg collection. This
picture, representing Truth as a beautiful nude woman, at the
bottom of her well, holding up her mirror, which blazes with the
reflection of its own light like an electric flame, is known by the
reproductions throughout the world. To the classical and alle-
gorical subjects toward which he naturally leaned, Lefebvre
added also a number of portraits of the first distinction, to which
he lent, in the arrangement and delineation of his sitters, much
of the highly pictorial quality of his imaginative compositions.
73
THE SENEY COLLECTION.
He occasionally painted genre as well, and in it as in all else
conveyed the refinement and purity of his style. As a painter
of the nude he, above all Frenchmen of his time, approaches
closest to the Greek ideal, and makes of woman a glorious tri-
umph of form and color as remote from mere fleshliness as a
classical statue. One of his strongest points is his wonderful
command of anatomy, of which he has made an exhaustive
study, and his figures are held up to students as models, not
only of superficial execution, but of organic accuracy and power.
To such an extent does he carry his correctness of drawing and
his firmness of modelling that it has been well said of him that
any of his nymphs or goddesses could be produced in sculpture
without a departure from his lines. To the Grand Medal of
Honor which he received in 1886, M. Lefebvre added a Grand
Prize at the recent Paris Exposition. He has been an Officer
of the Legion of Honor since 1878.
No. 58 Speranza .
No. 139 Fatima
No. 217 Young Sappho
PAGE
• 158
. 20I
. 241
LEROLLE (HENRY)
Pans.
In the very van of the artists to-day, who are creating the new
school of which the poetry of nature is the essential spirit, is
Henry Lerolle. A Parisian by birth and schooling, he is less
of a Parisian in his art than any other living painter of equal
capacity. He is, over all, a student and worshipper of nature,
seeing her with his .own eyes and translating her in poetic
phrases. To him she is ever the suggestion and foundation of
poetry, tender and serene, without melancholy or gloom in her
misty moonlights, her twilights mystical without sombreness,
and her sunsets, in which the last glow of day makes a harmoni-
ous splendor in a sky cooled by the evening breeze. Lerolle,
commencing as a painter of genre and history, soon passed over
INDEX AND BIOGRAPHICAL NOTES.
79
to the open-air school, and his airy landscapes, with beautiful
trees, animated with excellent figures and cattle, secured a
prompt critical acceptance. Reaching still farther in his ex-
periments, the artist next produced subjects of which his
magnificent " At the Organ," presented by Mr. Seney to the
Metropolitan Museum of Art, is a type. Then he turned his
attention to peasant life, in association with its labors, somewhat
in the style of Millet, but more hopefully and with a gentler
and happier spirit pervading them. He paints broadly and
solidly, and has such a remarkable perception of pictorial qual-
ities that he can give interest to even the crudest and most
unpicturesque objects and costumes. He occupies the not too
common position in the art world of a man of independent for-
tune, so that his choice of material is governed or swayed by
no necessarily commercial considerations. As a consequence,
painting what he chooses, and as he chooses to paint it, the strong
personality of the man is visible in all that he produces, and the
changes of his moods and inclinations form in his works as
clear a history of his artistic life as could a printed page.
Lerolle received his first Salon medal in 1879, and each year
adds to his honors at home and abroad.
PAGE
. 148
. 162
. 176
. 192
. 214
. 227
. 258
. 268
No.
39
The Wanderer .
No.
64
Resting . . . .
No.
93
The Shepherd .
No.
121
Watching and Waiting
No.
166
Bringing Home the Flock .
No.
191
Morning at the Farm
No.
249
The Homeward Path
No.
265
Gossip .
LEYS (BARON HENDRIK)
Deceased.
Whatever Belgium is in art to-day, in that art of sturdy realistic
romance which reflects still some of the glories of the time when
8o
THE SENEY COLLECTION.
the Guilds of Ghent, Bruges, and Antwerp had the power of
kingly states, it owes in its greatest measure to Hendrik Leys.
Born in 1815 at Antwerp, Leys was a pupil of a strong master
— his brother-in-law — De Brceckeleer, and of Baron Wappers.
He was also a close student of Pieter De Hoogh and Rembrandt.
His earlier essays in art were rather imitative, and his first pic-
tures exhibited more merits of sound technique than of origi-
nality. At the age of thirty-seven, however, when his mind was
ripe for knowledge and his hand skilled to seize upon it, he
broke away from Belgium, and set out upon his travels of
Europe. He came back, thanks to the influence of the great
art of Germany especially, a new man ; and in 1853 his pictures
in his new manner, at the exhibition in Ghent, woke Flemish art
into a frenzy of new life, lie had won the great gold medal at
Brussels in 1835, and been made a cavalier of the Order of Leopold
in 1840. Now his greatest honors showered down upon him.
The medals of Paris fell to him in 1855 and again in 1867. He
received the Legion of Honor in 1862, and the same year was
made a baron by his own king. The public and private gal-
leries of Europe contended for examples of his hand. Wealth
followed fame. In his own country he was commissioned to
execute masterworks for public edifices which have made his
name immortal. lie surrounded himself with those best laurels
of an art-master, pupils of genius destined to shed a reflection of
their own honor upon him, and when he died, in 1869, he stood
among the leaders of the leading art of Europe, and honored of
them all. His art has fixed the value of his services, and pos-
terity can only add to his fame. Belgium is made splendid by
his works and those of his pupils. In England one of these
latter has taken his place at the very head and front of insular
art, in the person of Laurens Alma Tadcma. It has been justly
remarked of him that no European state which is possessed of an
art is without some obligations to his genius and its influence.
No. 1 9 Hunter Resting at the Inn
No. 200 The Declaration
PAGE
138
231
INDEX AND BIOGRAPHICAL NOTES. 8 1
L'HERMITTE (L^ON AUGUSTIN) . Pans.
At Mont St. Pere, half a century ago, there lived an old and
expert vine-dresser, who had given his son an education which
enabled him to become the village schoolmaster. This son had
married and had a son in his turn, and it was a peculiarity of
this urchin that he was better pleased to be off with his sturdy
grandfather, when the old man went into the fields to prune and
trim the grapevines, than in the school where his father taught
the rules and symbols from books. The youngster, moreover,
had a knack of making little drawings with the lead pencil of
the scenes of which he was a spectator and of the characters
whom he met. The old grandfather had his misgivings, but
a vague premonition of a truth beyond his intelligence was
stronger than his fears. So the schoolmaster's son was allowed
to become an artist, and to this day his greatest art has been
consecrated to the vineyards and the school-house, to scenes of
the life of his grandfather and his father. A generous country
gentleman, who recognized the boy's genius, defrayed the ex-
penses of his education in Paris, where, in 1863, he became a
pupil at the Ecole des Beaux Arts, and also entered the atelier
of Lecoq de Boisbaudran. He drew on the block for the boo!:
publishers, designed on stone for the poster-printers, made his
career, in fact, out of the force and sturdiness of his own nature,
and learned to paint while he was earning his living. In 1874
he received a third-class medal for a Salon picture, called " The
Harvest." Ten years later he was admitted into the Legion
of Honor. He is the most expert of living charcoal draughts-
men, and as a draughtsman in pastel has no peer. His color
grows more forcible and ripe as he gets farther away from his
many years' devotion to graphic art, and as a water colorist and
an etcher he has won the highest honors. He adheres to the
rustic subjects with which his youth made him familiar, and it
has been said of him that the mantle of Millet could not fall on
worthier shoulders.
- PAGE
No. jq6 Noonday Rest . . . . .229
6
82 THE SENEY COLLECTION.
LOWITH (WILHELM) Munich.
Munich, whose Academy attracts the talent of all Europe east-
ward of the French border and north of the Alps, has been the
school of some of the greatest painters of modern Austria. One
of the strongest of the younger talents of Vienna to be attracted
to the Bavarian art capital was Wilhelm Lowith. He was born
in Vienna in 1867, had commenced his studies at the Vienna
Academy, and had already gained considerable consideration as
a possible leader in that pseudo-classical school into which Aus-
trian art has drifted of late years, when he succumbed to the
irresistible bent of his taste and settled in Munich as a student
at the life schools and a pupil of Professor Lindenschmidt. His
next step in advance was the abandonment of his vast decorative
canvases for cabinet pictures, and his success in these was
speedily assured. He has made a specialty of eighteenth cen-
tury subjects, and the spirit, wit, and delicacy with which he
endows them have placed him among the first painters of this
species of genre in Germany. He has his studio in Munich, and
in the full flush and vigor of productive and progressive youth
has become already one of the marked men in European exhi-
bitions.
PAGE
No. 24o The Duel 253
MADRAZO (RAIMUNDO DE) .... Paris.
An artistic family which holds in Spain a place anolagous to
that of the Bretons in France is the Madrazo. The head of the
house, Don Jose de Madrazo, died in 1859, as head of the Mad-
rid Academy. His- son, Don Federico, was a pupil of Winter-
halter in Paris and a noted painter in portraiture, genre, and his-
tory. It remained for the son of Don Federico to crown the
artistic glory of the house. Raimundo de Madrazo was born in
Rome, in 1841. His father was his first instructor, and from
his tutelage he graduated into the Paris Ecole des Beaux Arts,
receiving, later, instructions from Leon Cogniet. In 1878 the
INDEX AND BIOGRAPHICAL NOTES. 83
brilliancy of his talent, so thoroughly Parisian in spirit and
Spanish in nerve and color, won him a double honor not com-
monly accorded. He received, for his work at the Salon of that
year, a First Class Medal and the ribbon of the Legion of Honor.
Since that auspicious acknowledgment of his ability, Madrazo
has advanced from success to success. Some of his most brill-
iant productions have been of Spanish origin, but he has re-
mained faithful to Paris as a resident, and generally so in his
choice of subjects. He has produced some portraits noteworthy
for their fine characterization and their daring exploits of color
and of technique, but it is upon his works of genre that his fame
has its securest foundation. His younger brother, Ricardo de
Madrazo, has also developed into an artist of ability and origi-
nality, and some confusion of identity has been occasioned by
the similarity of their initials. There is, however, only one
Madrazo who will be recognized as the master of the family,
upon the just grounds provided by himself. With both France
and Spain vehement to claim him, his national and artistic
identities are so interwoven that it is not impossible that he may
become a subject of international dispute.
PAGE
No. *5 Mme. la Marquise . . . . .167
MARR (CARL) Munich.
At the exhibition of the National Academy of Design, of this
city, in 1881, No. 408 of the catalogue was a large and striking
picture which had been exhibited with success in Munich and
wnich was entitled " The Wandering Jew." The accursed and
hopeless Ahasuerus, condemned to eternal existence, old and
worn with travail and despair, wept on a desolate seashore over
the corpse of a beautiful young girl, drowned in her flush of
hopefulness, whose fate he envied. The execution of the picture
was powerful and the dramatic and pathetic quality of it aroused
universal attention. It was subsequently purchased by Mr.
George I. Seney and presented to the Metropolitan Museum of
Art, among the treasures of whose galleries it is preserved, under
84
THE SENEY COLLECTION.
the title " The Mystery of Life," a new and sublimer signifi-
cance being given to it by the removal of the original legend into
the realm of allegory. Some years later, at the American Art
Galleries, was shown a picture of girls gossiping in a modern
Dutch interior, which would, doubtless, have carried off the prize
of the Exhibition had not Mr. Seney purchased it to send it also
to the Metropolitan Museum. The arts of the painter of " The
Mystery of Life " and of ' ' Gossip " are very wide apart in feeling,
but both works are the production of the same hands. Carl Marr
is a native of Milwaukee, who at Munich, as a pupil of the Acad-
emy and especially of Professor Dietz, laid the foundation of his
artistic future. The influences cf German art and thought in-
clined him naturally to that allegorical mysticism and tragic sen-
timent which are exemplified in his " Mystery of Life." The
trend of taste in Bavarian art, however, finally sent him to Hoi
land, where his second style, as illustrated by " Gossip," found
its origin, and where he really set foot upon his destined path.
What Munich began in the scholastic and limited arena of the
school and the studio, nature ended by opening to the gifted
young artist the whole world, full of subjects and ideas con-
stantly renewed and refreshed, and meeting by sympathy his
own true ideals. Light, air, and the joyous brightness of actual
existence took with him the place of a brooding shadowiness of
contemplation, and while giving its proper direction to his art,
gave to the artist his place of fixed eminence among the painters
of his school and time.
No. 107 Sunday Morni?ig
PAGE
MAUVE (ANTON>
Deceased.
At the Centennial Exposition in Philadelphia, a picture which
made its mark in the exhibit from the Netherlands was called
" Hauling up the Fishing- Boat." It was one of those sincere
and simple efforts at the transcription of nature in which Dutch
art is supreme. The painter was Anton Mauve, a man no
longer in the flower of youth, but of an energetic nature and a
INDEX AND BIOGRAPHICAL NOTES.
85
No.
No.
No.
No.
No.
fresh and spirited style. He was a native of Zaandam, and
had been a pupil of P. F. Van Os, but evidently owed most of
his art to himself and to the foundation of all art — that uni-
versal mother, at whose breast genius is nourished with a vital-
ity that perennially renews itself. Among the earlier pictures of
Mauve one may discover traces of his master, in a painstaking
finish, a sleek and smooth execution, and a tendency to pleasant
color without fibre or strength. When he freed himself and
went forth to his studies in the fields, his manner changed as if
within a day. Breadth of execution, simplicity of material, a
close observation of the variations of nature, characterized it.
The student, having learned the substantial processes of paint-
ing, became the artist, susceptible to the fleeting impressions of
the scene, swift to grasp and strong to execute them. Always
well sustained by the Dutch collectors, he was also the recipient
of universal European honors. His pictures received the med-
als of the Salon, and found their place in the great collections
of Europe and America. His death, in 1889, was lamented as
a loss to the art of the world as well as to that of his native
Holland. In water-color painting, as in oil, Mauve enjoyed
distinguished eminence, and his later subjects, in both media,
were extracted from the rural life of Holland and largely from
its pastoral side, its cattle pastures and sheep walks providing
him with his happiest material.
PAGE
38 Winter 148
62 Carting the Log
1 20 Home to the Fold
l3° Evening Twilight
29 x Cre'puscle .
160
191
200
283
MAX (GABRIEL)
Munich.
The son of a sculptor, Joseph Max by name, Gabriel Max's
art life began in the studio of his father, whom he served as an
assistant, until his death in 1855. The boy, then fifteen years
86
THE SENEY COLLECTION.
of age, had already given tokens of an ability of the first order
at the plastic art, when the removal of parental control left
him free to turn his attention to painting, for which he had
always had an overwhelming love. He promptly abandoned
the chisel and the clay tubs, and until 1858 was a diligent
student at the academy of his native city, Prague. Next to paint-
ing, music was the worship of young Max's soul, and his earli-
est original productions were a series of India-ink drawings, illus-
trating, or, rather, expressing, the fundamental ideas of works
of Beethoven, Mendelssohn, and the other tonal masters, which
gave him an extensive reputation as an inventive and sympa-
thetic artist. In 1863 he became a pupil of Piloty, at Munich,
and like all of the great pupils of this remarkable master,
gained from him the essence of a lofty art without becoming an
imitator. His picture of a beautiful Christian martyr on the
cross, at whose feet a passing Roman youth sacrifices his crown
of roses, made a strong mark for him at its exhibition in 1865,
and rendered it possible for him to establish himself indepen-
dent of his master. In 1867 Max opened his studio in Munich,
and a few years later was admitted to a professorship at the
Academy. He continued to produce works in line with his first
notable compositions, works characterized by a subdued har-
mony of color, and a rare sentiment and noble pathos, in whose
simple purity of design and firm delicacy of form the critical
eye could trace the influence of his earlier lessons as a sculptor.
Without essaying the grand style in his subjects and creating
imposing historical compositions, he gave to his poetical and
tender realizations of great human episodes of history a gran-
deur entirely their own, the grandeur of heroic sacrifice and
human pain. His fame passed early beyond his native border.
All Europe concurred in honoring him with medals and diplomas,
and in giving to his art a place in the leading rank of modern
productiveness, and among the great public and private collec-
tions of both continents he now finds almost universal acceptance.
No.
No.
3
202
A Sua Man Girl
St. Theresa
PAGE
I30
-2Z
INDEX AND BIOGRAPHICAL NOTES. 87
MEISSONIER (JEAN LOUIS ERNEST. . Paris.
It is an indication of artistic eminence that it creates schisms in
the councils of art. The bitterest battles of criticism and pro-
fessional opinion are fought over the greatest geniuses. It will
not be until posterity has passed upon him that the greatness of
Meissonier will receive its permanent establishment. Mean-
while, still alive and productive after seventy-five years of busy
existence, he occupies the place of first prominence among living
artists. In all the splendor of a fame that a crowned and
anointed king might well envy, he can look back -over a career
that must sometimes be a wonder to himself. How full it must
be of those bleak days when he drew on the wood-block, for the
price of a dinner, illustrations whose proofs are now the print
collector's prizes ; of the days when he vainly peddled, from
dealer to dealer, paintings which are now received with cheers in
auction rooms, and which form the objects of contention among
millionnaires. Fifty years have passed since this master of the
century received his first Salon medal. The splendor of a
magnificent triumph now crowns him with imperishable laurels.
There is no corner of the civilized world into which his fame
has not penetrated, and it is to be recorded in his honor that he,
least of all his family, has been exalted by it. The proudest
ornament that he wears on his black coat on the afternoon
promenade, that coat which he might cuirass with the most cov-
eted medals out of his cabinets, and still leave the cabinets full,
is a fragment of red ribbon that was handed to him in 1846. It
is told of the bluff little man with the flowing beard that, as he
stands among the crowd at the Boulevard curb, watching the
troops go by upon parade, as he is fond of doing, the officers
salute him with their swords and the men with a movement of
their muskets. The great Napoleon, whose blood-written glories
he has made immortal with his brush, perhaps received no prouder
homage, and certainly deserved no homage more.
PAGE
No. 190 Bowl Players in the Fosse at Antibes . 226
No. 275 Deliberation . . . . . .274
88 THE SENEY COLLECTION.
MICHEL (GEORGES) Deceased.
An extraordinary genius, whom it has required two generations
of artistic education for the public to appreciate, was Georges
Michel. He belonged to the men of 1830, but was not of them.
In fact, he was at work in their field while they were still feel-
ing their way with uncertain feet. Michel was a true child of
Paris. He was born there in 1763, and never went farther from
its roar than the hills and plains of Montmartre, till he died in
1843. The foundation of his art is to be found in the Dutch
master Van Goyen, whom he studied closely, and in whose style
he painted, but with more strength and less delicacy. Michel
began his art life poor, and as a species of attache of the house-
hold of a nobleman who had a vanity to figure as a painter, and
who signed the pictures he paid the easy-going young Parisian
to execute for him. The connection was profitable to Michel,
and when it ended he was able to set up a little curiosity shop
for his son. The son dying, the father and his second wife
continued the business. Daily at a certain hour they shut the
shop up and travelled off to Montmartre, where the artist painted
whatever subject struck him in his beloved district, which was
then a comparative wilderness of scattered groves and quarry-
tunnelled hills. He also worked at home, dashing down effects
that came to him, and sometimes completing his out-door stud-
ies. His early pictures display a certain richness of color and
elaboration of detail, but in his later and finer style he simplified
his system and produced those massive compositions, vast plains
and solid hills, under skies quivering with exquisite grays and
rolling with storm, through which he has become to his country
what Constable was to England. Neglected by the public, at a
period when art generally enjoyed little favor, Michel in his
latter years made no effort to dispose of his works, and a great
accumulation of them was distributed after his death. Of a
convivial and hearty nature, he laughed at the world which
neglected him, left most of his pictures unsigned because, as he
said, there was but one Michel and would not be another, and
having sold out his shop, wound up his life in humble comfort,
INDEX AND BIOGRAPHICAL NOTES. 89
and died convinced of the immortality which, after nearly half a
century, came tardily but justly to his memory.
PAGE
No. 2 The Ravine Road . . . . .130
No. 117 The Old Oak 190
No, 212 Landscape 238
MILLAIS (SIR JOHN EVERETT), R.A. . London.
The distinguished position occupied by Sir J. E. Millais in con-
temporaneous art in England is unimpaired by the changes of
schools and styles which have occurred since he took his first
lessons in drawing at Mr. Sass's academy as a boy. He stands
at the head of his guild now, as he stood at the head of his
school half a century ago. Born in 1829, at Southampton, his
early boyhood was spent in France and among the Channel
Islands, where he already produced some quite remarkable
sketches from nature. In 1838 he had acquired such proficiency
under Mr. Sass that he won the Society of Arts' silver medal
for drawing from the antique, and in 1840 he entered the Royal
Academy as a student, winning the silver medal there in 1843.
His first exhibited picture, in 1846, was " Pizarro Seizing the
Incas," and in 1847 he received the Academy gold medal for his
" Benjaminites Seizing the Daughters of Shiloh," and a com-
mission to assist in the decoration of the Houses of Parliament.
Up to this time he had followed the accepted traditions of
art, but association with Rossetti, Hunt, Woolner, and other
progressive and congenial young spirits, led to the formation
by them of the Pre-Raphaelite Brotherhood, which, in spite of
its weaknesses and exaggerations, may be considered as having
inspired English figure art with the allied spirits of realism and
poetry. For some years Millais adhered closely to the severe
artistic rules of the brotherhood, but as he grew stronger his
genius burst its shackles one by one, until he had cast off all of
Pre-Raphaelitism but what was best in it, and created that style
of his own in which he is recognized as supreme. Made an
90 THE SENEY COLLECTION.
Associate of the Royal Academy in 1854, a Member in 1863,
and a Baronet in 1885, enriched by an admiring nation both in
honors and in substantial wealth, he found almost equal recogni-
tion abroad, especially in France, where he is an Officer of the
Legion of Honor and a Member of the Institute, as well as a
Medalist of Honor. Equally powerful in portraiture, composi-
tions and landscape, Millais is as well one of the most versatile
and productive of the many great artists of our time whose
pencils have been employed in elevating illustrated literature to
the level of high art it has attained.
PAGE
No. 267 The Love-bird . . . . . .269
MILLET (FRANCIS D.), N.A. . . . New York.
The same school which at a little earlier date produced L. Alma-
Tadema, developed in F. D. Millet an artist who has given to
the art of this country much the same classical impetus that the
eminent pupil of Baron Leys gave to that of England. Mr.
Millet was born at Mattapoisett, Mass., in 1846, and as a stu-
dent at the Royal Academy of Antwerp, under Van Lerius and
De Keyser, gained his silver and gold medals in 1872 and 1873.
It is out of an eclectic study of modern European art, however,
that he has formed his own. An active and logical mind, keen
observation, and a well-schooled hand have had more to do with
his progress than the lessons of his early masters. His first suc-
cesses were gained in portraiture, and he followed them with a
series of classical and genre subjects which displayed not only
his strength of technique, but the thoughtful and creative spirit
of the student, and the philosopher wise in the ways of the world.
His pictures found acceptance by critics and connoisseurs abroad
as at home, and he enjoys to-day the almost unique distinction
among American artists of honor and reward on both continents.
Since he served as the American Art Juror at the Paris Exposi-
tion of 1878, he has been conspicuously active in all movements
calculated to advance the interests of our art, and has done much
to promote the ends in view. Mr. Millet became an Associate
INDEX AND BIOGRAPHICAL NOTES. 9 1
of the National Academy of Design in 1882, and an Academi-
cian in 1885, and independent of his artistic labors, has per-
formed notable service as a war correspondent in Europe, and
as a writer for the leading periodicals of the United States and
England on artistic and other topics of current and permanent
interest.
PAGE
No. 15 The Toilet . . . . . .136
No. 137 The Flower Girl ..... 200
No. 220 Confidences ...... 242
MILLET (JEAN FRAN9OIS) . . Deceased.
The most heroic presence in modern French art, a presence
sanctified by a life of struggle and the grandeur of an over-
powering genius, is that of Millet. A peasant boy, proud of
the soil that bore him and of the people to whose ranks he
belonged, he gave to them the better part of his life and the
best of his art. Born in 1814, he began art as a student under
a provincial master, continued it in Paris under Delaroche and
at the Louvre, and finally, rejecting the accepted and popular
conventions and fashions, opened up a new world after a man-
ner entirely original and altogether part of himself. He was
earning a scanty living painting signs and portraits and making
designs, when, in 1840, he sent to the Salon his first picture — a
portrait of his friend Marolle. Absolute and grinding poverty
constantly oppressed him, but he was rich in the esteem of some
of the most distinguished of his artistic brethren, who perceived
in him a genius superior to adverse fate. The accident of the
revolution of 1848 and the cholera gave his art the direction for
which it was destined. In company with Charles Jacque, in
1849, Millet left Paris, then in the double shadow of political
troubles and pestilence, and sought refuge in the calm retire-
ment of the Forest of Fontainebleau. At Barbizon, one of the
villages of the district, he made his home. Here, amid rustic
scenes that recalled his boyhood, he fought his battle of life and
won the great victories of his art. He had as associates the
92 THE SENEY COLLECTION.
fellow-revolutionists of French art. Rousseau, Jacque, and
Decamps were his neighbors. Diaz, Daubigny, and Duprewere
his visitors and his friends. The story of his poverty and his
trials has become old by much recapitulation, but in his simple
way of life and his complete devotion to his art, he survived
adversity that would have broken a less resolute and earnest
man. Among his first patrons were Americans, and among his
staunchest admirers were American art students ; but honors
came slowly to him from his own people. In 1853 he received
a second-class medal, and in 1864 one of the first class. Now
fortune began to show him a kindlier face. Appreciation of his
pictures grew. In 1868 he received the Legion of Honor, and
when he died in 1875 he was enjoying a comfortable popularity,
though he was by no means wealthy. The sale of his "Angelus,"
in 1889, to the American Art Association, crowned the romance
of his career of vicissitudes and trials, and marked the fact that
his place at the head of his art was finally conceded to him.
This masterpiece has, after successful exhibition throughout the
United States and Canada, been recently sold by the owners to
M. Chanchard, of Paris, and is now a part of that amateur's
magnificent collection.
PAGE
No. 236 The Apple Harvest 251
No. 296 Waiting 286
MUNKACSY (MIHALY) Paris.
In 1846 the rude village of Munkacs, in Hungary, was the
birth-place of a child of poverty who was christened Michael
Lieb. He had no future but one of misery, such as had pre-
ceded him in the -experience of his progenitors, and he com-
menced, almost as soon as he could handle a tool, to earn
his meagre living as a carpenter's apprentice. For six years he
worked at the bench, with an occasional job of house-painting
to vary the monotony of his labor. From this casual employ-
ment he found his way to his future. He taught himself to
draw, and, in a crude way, to paint. Then a good-natured, poor
INDEX AND BIOGRAPHICAL NOTES. 93
portrait painter of Guyla took him up and taught him a little
more. From this vagabond master he passed into the hands of
the Vienna Academy, and, by a supreme effort, finally secured
admission into the Munich Ecole des Beaux Arts, where Pro-
fessor Adam became his friend and instructor. Here the young
artist, who was known as Michael of Munkacs, which title he
has since adopted as his name, Michael Munkacsy, made such
strides in advance that he was enabled, by the winning of sev-
eral prizes, to set himself up at Dusseldorf in 1869, as a painter.
The works of Knaus and Vautier inclined him to genre paint-
ing, and in 1S69 his " Last Day of a Condemned Man" made
him famous. His style was so original and so unlike the con-
ventional methods of German art that it attracted attention in
Paris, and in 1S72 he was emboldened to settle in that city, where
he has since resided and where his works have found much
favor. He had received a medal at the Salon in 1870, and so
was not unknown there. In 1877 he was received into the
Legion of Honor, of which he has been an Officer since 1878.
Munich and Vienna have made him a member of their Acad-
emies, and the whole world in which art finds patronage has
accepted him. His "Christ Before Pilate" and his "Calvary,"
after making the tour of Europe on exhibition, were brought to
America and purchased, after a wide display, by the present
Postmaster-General of the United States. During the exhibi-
tion of the former work in this city in 18S6, Munkacsy visited
this country and painted some portraits, receiving, personally, a
cordial reception, well won by his pleasant personal and his
interesting mental traits. His case is an illustration of the tri-
umph of artistic genius over apparently insurmountable difficul-
ties almost unique in the history of modern art.
PAGE
No. 77 The Dreamer .168
MURPHY (J. FRANCIS), N.A. . . New York.
A little landscape, executed in a fine harmony of color and with
great delicacy of feeling, drew a limited amount of notice, at the
94
THE SENEY COLLECTION.
National Academy Exhibition of 1876, to a young artist whose
name was new to the catalogues. The few who took the trou-
ble to inquire after him, found that he was a native of Oswego,
N. Y., some three and twenty years of age, and a pupil of no
school save that of nature. The predictions aroused by his
first exhibit were confirmed by his successive, productions, and
in 1885 he was admitted to an Associateship of the Academy,
from which he was advanced, in 1887, to the degree of a full
Academician. Absolutely devoted to the study of nature, Mr.
Murphy has created for himself a manner which individualizes him
among the chief American painters of landscape. His sense of
color, his appreciation of the harmonies, his feeling for the pict-
uresque, and his vigorous draughtsmanship and resolute execu-
tion have gained for his pictures the recognition that can be
denied to no work of power. Mr. Murphy, after having battled
his way to acceptance in his own country, visited Europe for
the first time a couple of years since, and painted some pictures
in England and on the Continent. With the exception of these,
his productions have been thoroughly national in character, and
have added materially to the pictorial record of American land-
scape. In 1885 Mr. Murphy was awarded the second Hall-
garten Prize ($200) at the National Academy of Design, and in
1887 he received the prize of $300 founded by Dr. W. Seward
Webb for the Society of American Artists, of which Mr. Murphy
is an active and prominent member. He has been awarded a
gold prize medal by the American Art Association of New
York, and was made a member of the National Academy of
Design in 1887.
No. 2°7 Autumn
PAGE
NEUHUYS (ALBERT) .
Amsterdam.
The remarkable revival in the art of the Netherlands which has
marked the second half of the current century, has brought to
the front a number of talents in which one sees repeated, with
INDEX AND BIOGRAPHICAL NOTES. 95
some degree of modern refinement, the spirit of the older mas-
ters which made the Netherlandish schools of the past immortal.
The modern men, like the older masters, go to nature for their
inspiration, and find in the humble and commonplace life about
them material for their brushes which the verdict of the world
has endorsed as good. One of the younger genre painters of
the Low Countries who has achieved deserved distinction is
Albert Neuhuys. He is a native of Utrecht, where he was born
in June, 1844. His studies began in the Antwerp Academy,
and led him later into the studio of G. Craeyvanger, a more
noteworthy teacher than painter. But Neuhuys acquired his
most efficient lessons from the school of nature, as his pictures
show. His subjects, treating of familiar life with technical
skill and personal sympathy, belong with those of Israels,
Mauve, Artz, and those other leaders of modern art in the
Netherlands who have done for the Dutch and Flemish peas-
antry what Millet did and Breton is doing for those of France.
PAGE
No. 73 Industry 166
DE NEUVILLE (ALPHONSE MARIE) Deceased.
That France accepted the death of De Neuville, in 1885, as a
national misfortune was the most splendid tribute that could be
paid to the artist and the man. His whole life had been a
romance. Out of his love of art he had surrendered, at its
beginning, the material advantages of the career for which his
family had destined him. At its end, upon his bed of death, he
gave to the faithful woman who for a quarter of a century had
been his wife in all but the name, the title which was her due.
Palsied and not even over-clear of brain, racked and convulsed
by cruel agonies, flashes of a fine soul still illumined his sombre
and gloomy departure from the world. It is said that he thought
himself once more on fields of battle, and imagined, in his last
hours, the reality of the pictures in which he had made his coun-
try's heroism immortal. Before his fading sight floated the
96 THE SENEY COLLECTION.
smoke cf Magenta ; in his dull ears roared the cannon of Buzen-
ville ; he heard, in the echoing chambers of his memory, the
cracking fusillade of Le Rourget, and the shouts of victory in
the guttural German tongue, when the church door fell in and
a few heroes, dripping blood themselves, brought out to the
army it had required to conquer him, their dying commander
helpless in the chair from which he had issued his last com-
mands. Born at St. Omer in 1836, De Neuville had in less
than fifty years of life created a new military art for France.
No man has made so much out of the dramatic incidents of
great Avars as he. The tragic episodes of battle, the individual
events of the campaign, were his themes, for the human appeal
they made to him was repeated by him on the canvas. Where
Detaille, his great successor, is a thorough realist, De Neuville
always remained with a vein in him of that poetry which ele-
vates the artist above mere materialism. You see war in all its
disciplined splendor in Detaille. In De Neuville you hear also
the distant grumble of the cannonade, the shriek of the bullet,
and the shrill whistle of the descending steel, and through the
infernal chorus the wailing cries of bereavement that the dead
man on the battle-field cannot, happily for himself, distinguish
in the eternal silence into which he has passed. De Neuville
received his first medal in 1859, and was an Officer of the Legion
of Honor when he died.
PAGE
No. 159 Billeted on the Enemy . , . .211
No. 211 The Outpost 238
NICOL (ERSKINE), R.A London.
A house-painter's apprentice of Edinburgh one day, some sixty
years since, applied to the Trustees Academy of that city for
admission to the art school as a student. The drawings he
exhibited commanded consideration for him, and thus Erskine
Nicol commenced one of the most successful careers in the chroni-
cles of English art. From his house-painter's labors of the day
INDEX AND BIOGRAPHICAL NOTES. 97
he subsisted until he had become a sufficiently accomplished
draughtsman to undertake an engagement as drawing master at
the high-school of Leith, in which town he was born in 1825.
From Leith he went to Dublin, where he earned his living as a
drawing master, and continued his studies, later returning to
Edinburgh, and finally, in 1863, settling in London, where he now
resides. Previous to his removal to London he had been made a
• member of the Royal Scottish Academy. In 1866 he became an
Associate of the Royal Academy of London, and in due time a
full Academician. • Devoted to genre subjects, Mr. Nicol has in
them produced a long series of superb studies of life and character
in his native Scotland and in Ireland, where, during his sojourn
and from subsequent visits, he amassed a rich store of material.
As a colorist he has no superior in England. As a delineator
of character he has no equal in his native art. A shrewd, dry
humor expresses itself in his works, and a broad and genial
sympathy with humanity lends them heartiness. Although
known throughout the world by engravings from his pictures,
Mr. Nicol's paintings are of unusual and infrequent appearance
in collections outside the insular limits of Great Britain, where
they find an invariable acceptance. He has exhibited, generally
through the generosity of collectors owning his works, at the
National Academy of Design in this city, at the Centennial
Exposition in Philadelphia, and at a few American loan exhibi-
tions, and has been medalled at the Salon and other Continental
art displays.
PAGE
No. 74 Mental Arithmetic . . . . .167
No. 164 Patience is a Virtice . . . .213
No. 226 Always Tell the Truth . . . .245
PASINI (ALBERTO) Paris.
In the Chevalier Alberto Pasini we have an Italian who paints
the Orient as a Turk might who was born to its spirit and
nourished on its air. A native of Busseto, near Parma, he
7
98 THE SENEY COLLECTION.
enjoyed the instructions of three great masters. From Ciceri
he acquired his firm draughtsmanship, from Isabey his color,
and bold and fluent execution of the brush, and from Rousseau
the deeper feeling and sentiment of that master of landscape.
The influence of Isabey is exercised at its happiest in Pasini's
pictures in those exquisite groups of figures with which they
are enlivened, and which give to landscapes, in themselves of a
masterly style, the additional interest of genre compositions. A
fortunate chance sent Pasini to the East at the commencement
of his independent artistic career, and in several years' residence
in Turkey, Arabia, and Persia, he accumulated the experience
and the material upon which his most successful art is based.
No man of our time succeeds like him in realizing upon canvas
the life and spirit of the Orient, its splendor of color, brilliancy
of burning light, and barbaric sumptuousness of gorgeous
pageantry. His color is strong, bright, and true, his grasp of
form and character vigorous, and his touch has the certainty of
a well-schooled hand, directed by an observant eye. His treat-
ment is broad, although not negligent of detail; the light effects
of his pictures are often peculiar but always striking, and in his
command of aerial perspective he is particularly fine. He sees
and presents to us the real life of the Orient from an artistic
standpoint, leaving its natural poetry to speak for itself through
the truthfulness of his delineations. Pie is an Honorary Pro-
fessor of the Academies of Parma and of Turin, a medallist of
all the great exhibitions, and since 1878 an Officer of the Legion
of Honor, into which order he was received in 1868.
PAGE
No. > A Constantinople Market . . . .132
No. "9 The Attack 191
No. 2I9 The Falconers . . . . . .242
VON PETTENKOFEN (AUGUST) Vienna.
Beginning life as a soldier, Pettenkofen is concluding it as one
of the leaders in Austrian art. He was born at Vienna in 1821,
INDEX AND BIOGRAPHICAL NOTES. 99
and entered the army, where he saw some years of service. His
first studies of military life, which he afterward utilized in his
paintings, were made at this period. Whatever instruction he
may have had in art was casual and irregular. It is certain that
he taught himself to paint, and to this is to be ascribed his
minute and somewhat timid and labored style of the commence-
ment of his artistic career. With experience came confidence,
however, and by i860 he enjoyed in Austria a reputation almost
akin to that of Meissonier in Paris. He found his subjects
among the soldiery and pea-antry of the empire, and painted
cabinet pieces of exquisite delicacy of execution, picturesque-
ness of composition, and variety of characterization. Painting
life as he felt as well as saw it, he gave to his least significant
works a poetic trait, and as a colorist he ranked among the
first of Germany. He was made a member of the Vienna
Academy in 1S66, of the Munich Academy in 1SG7, a Knight
in 1S76, and a professor at the Vienna Academy in 18S0. His
works are not common in America, since the demand for them
in European collections leaves little opportunity for them to find
a foreign outlet, but the comparatively few that came to this
country are of a quality to confirm here the reputation that
the artist enjoys at home, of being one of the foremost and
greatest figures that the art of Austria has known.
PAGE
No. J7 The Return from the Fields . . . 137
PICKNELL (WILLIAM L.) Boston
The criticism of France, England, and America has united
with an unusual unanimity in endorsing the art of William L.
Pickneil, and from the time when his " Road to Concarneau "
introduced him to New Vork at the American Art Galleries, he
has been an important personality in our art. Born in Boston
in 1853, he became a pupil, at Rome, of George Inness. Dur-
ing two years of that artist's sojourn in Italy, Pickneil remained
in his studio. Thence he passed over to Paris, to study the
100
THE SENEY COLLECTION.
figure under Gerome, from whose studio he went into Brittany
to become one of the colony of painters and students presided
over there by Robert Wylie. His first exhibit at the Salon was
made during this period, and in 1880 his " Road to Concar-
neau " won him an honorable mention. In London as in Paris
his pictures scored a success which was repeated upon his return
to America in 1882. A distinguishing quality of his work is his
hold on local color, thanks to which the character of his
scenery is always accurately expressed. His French landscapes
are as thoroughly French as his American landscapes are Amer-
ican, while his own frank, decided, and broad style of execution
remains individual. While devoting himself largely to marine
and landscape subjects, Mr. Picknell is also an accomplished
and forcible painter of the figure ; and some of his pictures in
which the two are combined do double honor to his versatility
and his sound artistic training. In the treatment of purely
natural subjects, however, his strong and true color, his vigor-
ous touch, and the quality of vibrating light and atmosphere
which he commands, have justly commanded for him the widest
attention, and the greatest admiration and respect.
No. f 84 November
PAGE
223
POKITANOW (IVAN)
Paris.
One of the most interesting personages in the development of
Russian art which is part of the history of our time, is the
landscape painter Pokitanow. He was born at Odessa, and
left largely to himself, as indeed were most of his brethren of
the time, for his artistic development. His first hints at prac-
tice were derived from a few old German prints in the posses-
sion of his family, and he commenced to draw from nature on
the plan laid down by Purer and Holbein, minutely accurate,
laboriously painstaking, and analyzing detail as a botanist would.
In later years, when his expanding talent and intelligence lifted
him out of the rut of petty observation into which he had wan-
INDEX AND BIOGRAPHICAL NOTES. IOI
dered on untutored feet, a reminiscence of his original studies
still remained with him in a love of fine finish and careful draw-
ing on a small scale which have won for him the sobriquet of
"the Meissonier of Russian landscape." Among sympathetic
collectors his charming little pictures of Russian nature made
him many friends, and he was not long in securing for himself
a place of permanent honor in his national art. Odessa, Mos-
cow, and St. Petersburg loaded him with medals and with pat-
ronage, and when, as all good Russians with artistic gifts even-
tually do, he wandered to Paris, he found even greater favor
there. He still maintains his studio on the banks of the Seine,
although with each recurring season he seeks upon the steppes
and among the grain fields and farms where he was born the
subjects which his delicate brush preserves so brilliantly.
PAGE
No. i f The Hunter . . , , . .134
QUADRONE (GIOVANNI BATTISTA) Turin.
It is one of the attestations of the impression made by Meis-
sonier that in every European state there is some painter of
detail pictures who by the exceptional excellence of his work is
dignified with the sobriquet of the great Frenchman. In Italy
it is Quadrone who has received this popular re-baptism. " The
Italian Meissonier" is by no means an improperly conferred
title in his case. He is certainly a master in his walk of art, of
rare and perfect strength. Quadrone is a Piedmontese, born in
1844 at Mondovi. Gamba and Gaetano Ferri were his first
masters at the Turin Academy, and after having swept all the
native prizes available, he went, in 1868, to Paris, to study
under Bonnat and Gerome. After two years of Parisian polish-
ing he returned to Italy, where he has since resided. While
devoted to detail and exceedingly elaborate in his methods of
execution, the Italian spirit reveals itself in him through an
invariable selection of a point to his subjects. He always has a
little story to tell, as well as his models and types to paint. A
102 THE SENEY COLLECTION.
touch of humor and of light satire animates his pictures, and
lends them an interest independent of their artistic merits. Like
all Italians, he is a shrewd judge of character, and this trait
finds constant reflection in his works.
PAGE
No. &5 In from the Cold . . . . .172
RENOUF (EMILE) Paris.
It is a curious illustration of how little an original mind is con-
trolled even by the strongest influences that Emile Renouf, a
pupil of three figure painters, Boulanger, Lefebvre, and Carolus-
Duran, is ranked among the leading marine, landscape, and
genre painters of France. Only in his portraits does he display
any suggestion of his school, and in them the reminder of
Duran is very slight indeed. Except in good draughtsmanship,
Lefebvre and Boulanger have left no impress on his art. Re-
nouf was born in Paris in 1 845. His earlier exhibits in the
Salon, commencing in 1870, were marine subjects full of airi-
ness and the sentiment of the sea. His first great success came
to him at the Salon, with " The Helping Hand," which formed
one of the centres of attraction in Mr. Seney's collection, six
years since. In this beautiful and touching composition, a
little fisher's child tugging with her baby hands at the ponder-
ous oar to aid her grandfather, the artist produced an idyll of
the peaceful sea that appealed to every heart. He has painted
it in other moods as well, with its billows roaring in wrath, and
strong men buffeting them in vain, and he is at his best in those
compositions in which man and the ocean are brought together.
A couple of years ago the artist visited this country, and exe-
cuted a number of commissions for portraits and other works
which were highly successful. The close observation and
analytical intelligence displayed in all his works enabled him to
readily adapt himself to strange surroundings and seize upon
the spirit of scenes and people strange to him before with a
INDEX AND BIOGRAPHICAL NOTES. 103
ready grasp. Renouf has taken medals of the second class in
Paris, 18S0; of the first class at Munich, 1883 ; and at succeed-
ing exhibitions, and is personally highly esteemed for his ster-
ling integrity of principle and serious devotion to his art.
PAGE
No. ^8 Hoisting the Night Signal . . .179
RICO (MARTIN) Paris.
Rico is a Spaniard by birth, but of almost entirely original de-
velopment. He was born in Madrid, and taught to draw by a
good-hearted cavalry captain who practised art, after a fashion,
as an amateur. From the trooper's hands he passed to the
Madrid Academy, and he made his living as he advanced by
drawing and engraving on wood during his hours of leisure.
On the small savings of this labor he would wander off on foot
during the summer, studying from nature, living among the
gipsies and the herdsmen out of doors, quite as often hungry
as well fed, and at the end of the season almost compelled to
beg his way back to Madrid. As a result of his unremitting
industry, he, in 1S62, secured the first Prix de Rome ever given
at Madrid for landscape. The four years' pension involved by
the prize may be used by the winner either at Rome or Paris.
Rico went to Paris. His amiable compatriot, Zamacois, took
him in hand, Meissonier and Daubigny advised him. For four
years he studied nature, and then, when his period of pension-
ate had expired, he found a patron and fortune. The patron
was the father of Jules L. Stewart, the painter. Mr. Stewart
is one of the most enlightened and generous collectors of mod-
ern times, and from the time he discovered the young Spaniard
he sustained him with encouragement, and advanced him with
other amateurs, until his works were in a demand that required
no further nursing. In water color, as in oil, his brilliant and
animated style commanded praise and popularity, and he was
enabled to seek in Spain and Italy, and even in the Orient, for
104 THE SENEY COLLECTION.
subjects. In 1878 Rico was medalled at the Salon and endowed
with the Cross of the Legion of Honor. Even in the splendor
of his prosperity, he has not lost the simple habits of his pinched
and needy boyhood, and it has been remarked of him that with
his guitar and a bundle of cigarettes he could make a journey
round the world*
PAGE
No. 36 The Banks of the Adige . . . .147
ROQUEPLAN (JOSEPH ETIENNE C AM I LLE), Deceased
Roqueplan, or Rocoplan, as he was sometimes called, was one
of the men of 1830 who carried French art out to nature. He
was born at Mallemart, at the mouth of the Rhone, in 1800, and
died in Paris in 1855. He first painted under Abel de Pujol,
and later under Gros, and his works include genre, landscape,
and marine subjects. As early as 1824 his talent was recognized
by a Salon medal, and in 1831 he was admitted into the Legion
of Honor. The enlightened and liberal Due d 'Orleans was one
of his first patrons. At the sale of the duke's collection after
his tragic death, Roqueplan's picture of " The Antiquary" sold
for the then enormous sum of 30,000 francs. Roqueplan was
one of the splendid corps of artists employed by the state in the
decoration of the Luxembourg, and the national collections of
France are rich in his works. In his landscapes and marines he
produced charming effects of light and color, and among his
genre subjects are some veritable gems. In the greater fame of
the Barbizon painters, his genius has been treated with un-
merited neglect, but the immutable justice of time is again
bringing before the public his claims as a great and sincere
artist, and an original and industrious reformer in the higher
walks of his art.
PAGE
No. 56 At the Stile 157
INDEX AND BIOGRAPHICAL NOTES. 105
ROUSSEAU (THEOD. PIERRE ETIENNE. Deceased.
The career of Rousseau was analogous to that, of Millet in its
protracted and painful struggle. Born at Paris in 1812, poor,
sensitive, and of the highest nervous organization, the young
artist began with the exhibition of the Salon of 1826 his long
life of original effort beset by trouble and despair. He was
from the first a naturalist, and suffered repeated rejection, and
even insult, at the hands of Salon juries, controlled by disciples
of the classical school, to which his art was a perpetual challenge
and defiance. He was one of the first men of his time to settle
the now famous artistic colony at Barbizon, and with Corot,
Daubigny, Diaz, and Dupre, stands as an associate founder of
the modern school of French landscape painting. His art was
an art of deep feeling, and more than any of his colleagues did
he possess the power of lending to landscape a strong dramatic
quality. In effects of atmosphere and light he excelled, and
as a colorist he stood supreme. Rousseau and Millet were
neighbors at Barbizon and close friends, and when poverty
pressed the latter hardest, it is recorded of the former that he
found out of his own need something to spare for his less
fortunate associate. A touching romance is associated with
Rousseau's life. His wife was subject to a mental affliction
which would have justified her seclusion in an institution, but in
his deep devotion to her her husband refused to put her away
from him, and during all his life suffered the torment of con-
tinual nervous strain from her irresponsible violences. By a
mockery of fate, he died before her, in a condition of mental
decay similar to but more deadly than hers, and which preluded
his end with months of anguish. His death occurred in 1867.
A pupil of Lethiere and Remond, Rousseau really, however,
owed his artistic development to his study of nature. He
received his first third-class medal at the Salon of 1834, medals
of the first class in 1849 and 1855, and a Medal of Honor the year
of his death. He was made a member of the Legion of Honor
in 1852. In 1867, his failure to secure an Officership of the
Legion, which was largely due to intrigue on the part of his
I06 THE SENEY COLLECTION.
enemies, proved a severe blow to him, and undoubtedly bore a
share in accelerating the advent of the malady which carried
him off.
PAGE
No. 150 The Old Oak Tree . . . . .206
No. 162 Evening . . . . . . .212
No. 234 Autumn ....... 250
No. 259 The Pasturage . . . . .265
ROYBET (VICTOR LEON FERDINAND) Paris.
When, at the Salon of 1866, the "Jester of Henry III." won
for its painter his first medal, France hailed in Roybet a new
prophet in current art. The combination of a true feeling for
color with vigorous expression of form and correct decorative
instinct was then an uncommon quality in the studio. Roybet
painted with a naturalistic power, yet with also a pictorial sym-
pathy which did not permit of the doctrine of the realists that
anything that could be painted was good enough to paint. He
required that his subject should be as attractive as its rendition
was accurate. His cavaliers and ladies, his groups and caval-
cades, were not only picturesque in themselves and realized with
remarkable vividness and vitality, but they were presented in
picturesque incidents and surroundings. The painter is a
native of Uzes, in the Garde, and was born in 1840. He had
begun the study of art at the Ecole des Beaux Arts, at Lyons,
and settled in Paris not long before his ddbut at the Salon. An
immediate favor followed the warm critical reception of his first
works, and he entered upon a career of success which years
have only added to, and which has made his name familiar
throughout the civilized world. To successive exhibitions he
sent a splendid series of canvases, representing social and his-
torical episodes of the past, in each of which his powers found
stronger and ever stronger expression ; and in the art world
itself, and in that of the art lovers whose collections his brush
INDEX AND BIOGRAPHICAL NOTES. 107
has enriched, he enjoys an esteem which is commensurate with
his genius, at once so brilliant, original, and sincere. An exhi-
bition of his collected works in Paris last year was the occasion
of an enthusiasm which has been rarely aroused by any display
in that city of the productions of a single hand.
PAGE
No. 13 Dividing the Game . . . . . 135
No. 192 The Secret . . . . . .227
SALA Y FRANCES (EMILIO) Madrid.
One of the Spaniards who have aided so materially in the mod-
ern revival of their national art is Emilio Sala y Frances, more
widely known simply as Emilio Sala. He is a native of Alcoy,
Spain, and won his first medal at Madrid in 1871. Competent
critics then already discovered in the enthusiastic youth one of
those talents to which Spain looked so hopefully for her artistic
regeneration. His first works were of a most ambitious order,
treating of tragic and dramatic subjects in Spanish history.
Between the composition of these the artist produced a number
of genre subjects, drawn from native life, which were not long
in securing favor. He has also painted some extremely effec-
tive scenes of Moorish life, and produced portraits marked by a
vivid personality, and a spirited and strong execution. Like all
of his compatriots of the easel, he has an inclination to a real-
istic rendition of his motifs, but always governed and guarded
by the imaginative tendency which is part of the life-blood of the
Spaniard in every line of creative productiveness. The marked
originality of his style and the independence of his methods may
be laid to the score of his being almost entirely self-taught, and
so subject to none of the influences which might impair or
weaken his individuality of expression.
PAGE
No. 92 The End of the Game . . . .176
108 THE SENEY COLLECTION.
SALMSON (HUGO FREDERICK) . Pan.
At the commencement of the year i860, Professor Voklund,
who presided over the Academy of Fine Arts at Stockholm,
pointed out to an artist who was visiting the school a modest-
looking young man of sixteen or seventeen, who was painting in
the life class from a nude model. He was working with the
simplest palette, and only a couple of brushes, but his figure,
for accuracy of form and color, was by far the best in the class.
The professor, enthusiastic in the cause of his favorite pupil,
predicted for him an artistic future of which his student work
was an earnest. The youth whom he commended was Hugo
Frederick Salmson, a native Swede of the city in which he
began his study of his art. From the Stockholm Academy
Salmson emerged with sufficient courage to establish himself in
a modest studio, where he painted genre pictures based on the
history of his Fatherland. These had sufficient merit to pro-
duce patronage for him, and in 1869 he was enabled to proceed
to Paris, where, at the Ecole des Beaux Arts, and under Charles
Compte, he still further improved his technical knowledge and
his experience. In 1871 his progress secured for him the appre-
ciation of his native city, in the form of his being elected a
member of the Stockholm Academy, and in 1879 he achieved a
second triumph in his Salon picture, representing an arrest in a
village in Picardy, being purchased from the exhibition by the
government for the Luxembourg collection. While producing
much in the line of elegant portraiture and subjects of a social
order, Salmson has always remained faithful to the humbler
walks of life as well, and some of his strongest and most
memorable canvases have for their characters and motifs the
peasantry and their labors of the Northern land in which he was
born.
PAGE
No. 7 2 Churning . . . . . .166
No. '76 The Philosopher 219
No. 303 Coming from the Hay-field . . .290
INDEX AND BIOGRAPHICAL NOTES. IO9
SCHREYER (ADOLPHE) . Paris.
There is no suggestion of the German in the art of Schreyer,
yet it was in that most German of cities, Frankfort-on-Main,
that he was born in 1828. Theophile Gautier, who admired his
pictures to the verge of extravagance, once defined him as " a
Teutonic accident." Schreyer was, however, fortunate in com-
ing of a family of wealth and distinction, in consequence of which
he was permitted from his youth an independence of move-
ment and study which liberated him from the then restricted
influence of his native art. He travelled much, and painted
as he went. In 1855, when his friend, Prince Taxis, went into
the Crimea, he accompanied the prince's regiment, and at this
period he began producing those battle scenes which gave him
his first fame. Wanderings in Algiers and along the North
African coasts into Asia Minor, resulted in those pictures of
Arab life which are so popular, while visits to the estates of his
family and his friends in Wallachia provided him with another
of his familiar classes of subjects. Schreyer is essentially a
creative painter. He finds his subjects in nature. His mem-
ory is a mine of models for him. But everything he paints is
imbued with his own spirit, too dashing and bold and resolute
to secure the subtle poetry of Fromentin, and too refined in feel-
ing to rival the fierce force of Delacroix, but always instinct
with life, movement, and the ripe and rich reflection of the art-
ist's colorful mind. Between these two great painters Schrey-
er s manner is a happy compromise, entirely independent of
servile imitation, an expression, in fact, of a sympathetic rec-
ognition of kindred spirits in them. Until 1870 Schreyer
was a resident of Paris, but since that time he has divided
his life between that city and his estate at Kromberg, near
Frankfort, where he lives surrounded by his horses and hounds,
practising his art with an energy that advancing years have
been unable to impair. He was invested with the Order of
Leopold in 1860, received the appointment of court painter
to the Duke of Mecklenburg in 1862, is a member of the
academies of Antwerp and Rotterdam, and received first med-
no
THE SENEY COLLECTION.
als at all the important European expositions between 1863
and 1S76.
PAGE
• 175
. 205
. 2l8
- 230
• 257
. 288
No.
7i
For Food and Shelter
No.
9i
The Rear- Guard
9
No.
148
The Watering-place .
No.
174
On the March .
No.
197
Come Here ! .
No.
248
The Contrabandist .
No.
300
The Wallachian Post-Car riza
STETTEN (KARL VON)
Faris.
French art working in a German spirit has produced one of the
classical painters of the generation in Karl von Stetten. A na-
tive of Augsburg, he went to Paris with the impressions of his
national art strong upon him. As a pupil of the Ecole des Beaux
Arts, and successively of Jules Lefebvre, the late Gustave Bou-
langer, Courtois, and Dagnan, he conquered successively those
stages of technique upon which he founded his own manner.
He is thoroughly original in his style, and the only reflection of
his masters that can be discovered in him is that of the two first
named, and these only in his choice of subjects. In 1S84 his
" Cleobis and Biton," a touching and beautiful realization of a
pathetic classical legend, drew notice to him at the Salon, and
his " Evening" at the next exhibition made him still more pop-
ular with the more critical public. In 18S6 he made his debut
as a painter of powerful and characteristic portraits, and since
that time has figured in portraits and imaginative compositions
and in genre works. His pictures are marked by careful draw-
ing, graceful composition, and an execution almost elegantly
polished, and where he represents scenes of the past he invari-
ably proves himself ah authoritative investigator into the arch-
aeology and history of the period which he treats. He has his
studio permanently in Paris, and has latterly given much of his
INDEX AND BIOGRAPHICAL NOTES. Ill
attention to important decorative compositions for public pur-
poses.
PAGE
No. 254 The Image Seller 261
STEVENS (ALFRED) Pans.
France and Belgium set up rival claims to Alfred Stevens, and
at one time there was a keen dispute between the critics of the
two countries as to the honor of his ownership. It has been
latterly conceded, however, that in the art of the disputed
master his two schools may share their titles for recognition.
Born at Brussels in 1828, Stevens studied first at the Paris
Ecole des Beaux Arts, and later under Navez in Belgium.
Navez, a gifted follower of David, laid in his more gifted pupil
the sound foundation of an artistic future. Young Stevens
also received encouragement and support from his elder brother
Joseph, a distinguished painter of genre and animal life. From
the studio of Navez, Stevens passed to that of Roqueplan in
Paris, and there he created for himself the style by which he
became prosperously known. His first exhibitions of original
works were made in 1849, and ne early found powerful patron-
age. As he advanced in power, he discarded his early manner,
in which the influence of his Belgian schooling found reflec-
tion, and developed a lighter touch and more poetic sentiment,
with greater elegance of style and execution. Medalled at
Brussels in 1851, he received medals of the third, second, and
first classes, respectively, at Paris, in 1853, 1855, and 1867. In
. 1855 he was invested with his native order of Leopold, in 1863
he became a member of the Legion of Honor in France, and
in 1878 reached a Commandership. Austria and Bavaria have
likewise admitted him to official honors, and the museums of
France, Belgium, Germany, and England give places of prom-
inence to his works, which testify to the esteem in which he is
held. As the head of a strong and influential school, by which
the combination of impressionistic sentiment with realism has
112
THE SENEY COLLECTION.
been given a permanent place in modern art, Stevens makes a
figure of individual importance, and secures the assurance of a
future of respect which will duplicate that which he has con-
quered for himself at his easel.
PAGE
• 137
. 158
. 174
. 214
. 219
. 260
No.
16
Devotion .
No.
59
The Watcher .
No.
89
The Japanese Room .
No.
165
Meditation
No.
i75
On the Coast
No.
252
The Departure .
STEWART (JULIUS L.)
Paris.
A Philadelphian by birth, Julius L. Stewart is none the less a
thoroughly European product in his art. He enjoyed the happy
fate of being son of one of the great collectors of modern
times, and thus of being from childhood surrounded by the
ripest influences of contemporary art. His father, who is the
owner of one of the finest private galleries and cabinets in
Paris, is the possessor of the choicest works of For tuny, whose
great genius he was among the first to recognize, and of master-
pieces from other contemporary brushes, whose wielders found
in him an early and appreciative patron. That association
with such works should have an influence on his son, is but
natural. The talent of young Stewart evidenced itself so
forcibly out of the surroundings of his boyhood, that it was
only necessary to give it a direction ; and this was found for
him in the studios of- Zamacois, of Madrazo, and of Gerome —
three artists who enjoyed the friendship as well as the support
of his father. The earlier original works of Julius Stewart
were as brilliant, colorful, and spirited as if they had come
from an easel native to Spain or Italy ; but with his advancing
powers, and his wider social range in Paris, his style assumed
a more subtle and elegant form, and he occupies to-day a
INDEX AND BIOGRAPHICAL NOTES. 113
unique place as the painter, par excellence, of modern social
life in the gay city. He paints the festivals and the diversions
in which he shares, as only he can who enters into them in body
and in soul. His great ladies are real great ladies of the Salons ;
his dandies are real dandies of the Boulevard and the clubs ;
and his aristocrats are real aristocrats, whose titles of nobility
are worn as naturally as their dress suits, or the uniforms that
give them the dignity of state figures in an official pageant.
PAGE
No. 3°5 The Hunt Ball . . . . ,291
TISSOT (JAMES) London.
Two artists whom England claims for her own, though both are
of foreign origin, are James Tissot and L. Alma-Tadema. The
latter is a Belgian by birth ; the former, a native of Nantes in
France, but by long residence in London Anglicised in every-
thing but his talent, which stills retains its national gracefulness
and spirit. Tissot, a pupil of Flandrin and of Lamothe, was
known as an exhibitor at the Salon as far back as 1859. His
" Faust and Marguerite " of 1861 was purchased by the State
and is in the Luxembourg, and his early pictures were commonly
scenes from the mediceval period, executed with an affectation
of the style of art of the period itself, in a certain severe precis-
ion of manner and simplicity of method. In 1870 he exhibited
at the Salon for the last time, and, settling in England, came
rapidly into vogue there as a painter, and into popularity as an
etcher. He had commenced to find his subjects in modern
familiar life, and by a happy selection of his types of woman-
hood he struck the keynote of success. His women, graceful,
elegant, and distinguished of manner, formed a distinct artistic
creation, and the surroundings in which he placed them exhib-
ited equal originality of selection and picturesqueness of condition.
As an etcher by the dry point method, Tissot proved himself
quite as dexterous a master as with the brush, and the proofs of
his plates are now among the print-shop's costliest rarities.
8
114 THE SENEY COLLECTION.
After many years of absence from the French exhibitions, he a
couple of years ago made in a Paris gallery a private display of
a series of character studies of Parisian women of the period,
which secured for him in France a repetition of the great suc-
cess which had long been his on the English side of the Channel.
He has also produced some remarkably spirited and original
works in portraiture.
PAGE
No. 90 In the Louvre . . . . . . 175
TROYON (CONSTANTINE). . Deceased.
A man of a rustic manner, bluff and bold, who might have been
one of the gamekeepers or herdsmen whom he painted — such
was Constant Troyon. Troyon was born at Sevres in 1810, and
worked in the porcelain manufactory, as his father had done
before him. Riocreux, the flower painter there, taught him to
draw, and at twenty years Troyon was a student of landscape-
painting from nature with some advice and encouragement from
Roqueplan, whom he met on one of his sketching tours and who
became interested in him. It was as a landscape-painter that
Troyon made his debut in the Salon of 1S33, and in this walk he
displayed a sentiment for light and color of the first order ; but
in 1847 he astonished the Salon, after a trip to Holland, where
he had studied the old Dutch masters closely, with a cattle
piece so splendid in spirit and so powerful in color and vivid
realism, that his fame was established at a single stroke. In
1849 he was decorated with the Legion of Honor, and the aug-
mentation in the prices and the popularity of his works made
him rapidly rich. The great school of French cattle-painting,
whose foundation Bracassat had laid, Troyon built up. He
gave to the brutes he painted, life and soul. His oxen have the
grand movement of nature, his cows ruminate the cud and
watch you with their soft eyes, his sheep bleat an appeal out of
the canvas, and the dog which guards the flock or travels at the
INDEX AND BIOGRAPHICAL NOTES.
115
heel of the poacher or the gamekeeper only needs to bark to be
alive. Poetry saturates his art — the humble rustic poetry which
becomes majestic through its very simplicity. Troyon's color,
his appreciation of light and the ripeness and harmony of tone
which characterize his pictures, were sustained to the last. He
won medal after medal, at Salons and expositions, and enjoyed
for nearly twenty years an uninterrupted course of honor and
prosperity. Like Corot, he remained unmarried, content with
his art and helpful of the younger talents whom his genius
attracted to him, and upon whom he made an impression which
one sees reflected still in French art. Sixty masterpieces from
his brush graced the Salon between 1833 and 1865, in which
latter year his splendid career passed into a splendid memory.
No. 41 The Windmill
No. 44 The Water Cart
No. 57 A Poultry Yard
No. 82 The Herd
No. 127 Sheep
No. 147 The Red Cow .
No. 15 x The Storm
No. 161 Return from the Pastures
No. 179 Harrowing
No. 187 Entrance to the Wood
No. 194 The Ewe Lamb
No. 223 A Normandy Ox
No. 233 Sunset
No. 245 Cows
No. 258 The Old Farm .
No. 269 Summer-time
No. 276 Sheep in a Forest
No. 284 The Shepherd .
No. 295 Hounds .
PAGE
149
157
171
195
205
207
212
221
225
228
244
249
255
264
270
274
278
285
u6
THE SENEY COLLECTION.
TRYON (DWIGHT WILLIAM)
New York.
A new landscape painter made his appearance in New York at
the National Academy exhibition of 1872, in whom artists and
critics professed to find the promise of a revelation in his art.
It was at a time when the familiar, older school of American
landscape was becoming hackneyed, while no newer form of
expression in the art had as yet asserted itself. U. W. Tryon
was one of the first of the younger American landscape* painters
to seek abroad for a direction and an inspiration not to be found
at home. Born at Hartford, Conn., in 1849, he settled in Paris
in 1S76, where he was at various times a pupil of Jacquesson
de la Chevreuse, Daubigny, and A. Guillemet. Under these
masters he confirmed the promise of his debut. The originality
and feeling demonstrated in his picture of 1872 received the
reenforcement of technical skill that was required to perfect
them, and in 1881, after years of study in France, Italy, and
Holland, he returned to the United States to take his place among
the leading painters of landscape in America. It is especially
in his moonlights that Mr. Tryon finds most eloquent expres-
sion. The serene mystery of night, always luminous and
peopled with vague form, presents for him a problem which his
brush is happiest in solving. The poetry of gray October
days, of winter evenings when the frost-fog rises from the rivers,
and of spring twilights when the atmosphere is like a veil of
silver, have likewise found in him a sympathetic and masterly
interpreter. Mr. Tryon now has his studio in New York, and
is a member of the Society of American Artists, at whose exhibi-
tions some of his most notable works have been displayed.
No. 115 Moonlight
PAGE
189
TURNER (CHARLES YARDLEY), N.A.
New York.
At first a pupil of Jean Paul Laurens in Paris, and later of Mun-
kacsy and of Bonnat, Mr. Turner enjoyed the contact and influ-
INDEX AND BIOGRAPHICAL NOTES. 117
ence of three strong painters in the formation of his own art.
He had not by any means gone to them without preliminary
equipment, however, for even in his earlier student years, as one
of the workers at the National Academy Schools and the Art
Students' League in New York, he had won commendation by
excellent draughtsmanship and a sound sense of color. What
his native schools began the ateliers of the French masters com-
pleted, and his first exhibit of an original picture in New York,
at the National Academy in 1882, was accepted as his valid
title to recognition. This exhibit consisted, in fact, of two pict-
ures. One, a " Scene on the Grand Canal, Dordrecht," showing
the milk-men and women returning to their boats, after the
day's delivery of milk, was a forcible and characteristic study of
a picturesque feature of Dutch life. The other, " The Days
that are no more," representing a young widow and her little
son descending the stile from a country graveyard, brought
forward the sentimental side of the artist's nature. While a
painter of a realistic tendency, and in everything a devoted
student of nature, Mr. Turner has never been content with the
mere substance of things, and his imaginative and creative
activity has produced some works of distinct native feeling and
interest generally in illustration of American poets. He became
an Associate of the National Academy in 1884, and a Member
in 1886. He is also a Member of the Society of American
Artists, and of the American "Water Color Society, and as an
etcher ranks among the leaders in that art on the Western
continent. He is a native of Maryland, having been born in
Baltimore in 1850.
PAGE
No. 242 Dreaming . . . . . .254
ULRICH (CHARLES FREDERICK) Venice.
Probably no young American artist made a more auspicious first
appearance before the public than Charles F. Ulrich. His pict-
ures, so admirable in technique, fine in color, finished in detail,
u8
THE SENEY COLLECTION.
and strong in character, were the sensation of their day. They
presented the artist as a sincere and thoughtful man, into whom
had entered some of the spirit of the great Dutchmen, Van der
Meer of Delft, Pieter de Hoogh, and their brethren of the
glorious epoch of Netherlandish art, while the advanced methods
of the modern schools had rendered his hand skilful and his eye
keen. Born in New York City in 1858, Mr. Ulrich was the son
of a photographer who had himself been a painter, and who
encouraged in the boy the talent which he displayed in his early
childhood. After laying the foundation of his education at the
National Academy of Design, he was transferred to Munich in
1873, and there for eight years be painted at the Ecole des Beaux
Arts and in the studios of Lofftz and Lindenschmidt. Upon
his return to America, he commenced the production of a series
of pictures simple in subject but remarkably elaborate in detail
and polished in execution, which included the " The Glass-
blowers," with which he crowned his success in 1883. He
followed this in 1S84 with an important and masterly scene at
the emigrant depot in Castle Garden, under the title of ''In
the Land of Promise," a picture which with its variety of char-
acter and delicacy of sentiment demonstrated the breadth and
strength of his talent in a commanding degree, and won for him
the Clarke prize at the National Academy and an associateship.
For some years Mr. Ulrich has resided abroad, principally in
Venice, and his art has during that period secured him the
highest recognition in' the art circles of Germany, and in Paris
and London.
PAGE
No. 209 The Wood Engraver . . . . 237
VAN MARCKE (EMILE)
Deceased.
The most distinguished pupil through whom Troyon bequeathed
to the succeeding generation a reflection of his own genius is
Emile van Marcke. Van Marcke was born at Sevres in 1827, of
artistic stock. He was employed in the porcelain works as a
decorator when he attracted the attention of Troyon. The
INDEX AND BIOGRAPHICAL NOTES. II9
latter was in the practice of making a weekly visit to his mother,
who resided at Sevres, and so the young decorator and the elder
artist were frequently in contact. The constant sermon of
Troyon was that the gifted youth should go to Nature, and Van
Marcke, in the time spared from his trade, obeyed the injunc-
tion. He, however, lacked the confidence to produce original
work until the encouragement of Troyon again came to his aid,
and a certain degree of success emboldened him to abandon the
pottery for a studio in Paris. Van Marcke's early pictures
betray strongly the feeling and influence of Troyon. While
more careful in drawing and more elaborate in detail, their color
and technique show the association of the master. But with
increasing confidence and experience, Van Marcke created a
style, with which he is now thoroughly identified. His color
became fresher, livelier, and more brilliant, and his effects of
light brighter and more sparkling. He is a master draughts-
man, equally a master of composition, and the grouping and
modelling of his cattle is always pictorial and true. His land-
scapes are of an equal degree of excellence, and are replete with
the charm of a joyous and smiling nature. Effects of midsum-
mer midday and of showery skies over pastures enriched by a
humid soil find particularly happy rendition at his hands. Van
Marcke appeared first at the Salon in 1857, and has been repeat-
edly medalled in 1867, 1869, 1870, and at the Exposition Uni-
verselle of 1878 received a medal of the first class. He was
invested with the Legion of Honor in 1872, and received
additional honors at recent exhibitions. Died January 7, 1891.
PAGE
No. 42 The Cow-Keeper . . . . . 150
No. 306 Rich Pasturage ..... 292
VIBERT (JEAN GEORGES) .... Paris.
One of the strongest individualizations among the artists of Paris
is Vibert. At the age of fifty he still preserves the spirit of his
student years. He is not only a painter but a satirist of drastic
power and an author of pointed excellence. He is a Parisian
120
THE SENEY COLLECTION.
No
No
by birth, and if he may be said to be a pupil of any one, his
master must be considered to be Barrias, although he also did
some early work under Picot. Pie first exhibited at the Salon of
1863, and made a virtual failure. His active intelligence gave a
new direction to his art, and seven years later, at the age of
thirty, he was decorated with the Cross of the Legion for his
" Roll Call After the Pillage." His good-humored satires on
the hypocrisy and self-indulgence of monkish and ecclesiastical
life did much toward advancing him in popularity, and one of
the latter, " The Missionary's Story," may be recalled as having
been sold in this city, at the sale of Mrs. Morgan's collection in
1886, for $25,000. Vibert was not content with triumphs in oil
alone, but spurred by the exploits of Fortuny in water color, he
began in it a series of experiments that have placed him among
the first aquarellists of the world. He was the leader in the
movement that resulted in the formation of the now powerful
Society of French Water Colorists, a society that, by its lofty
standard, really forced the Salon into a marked reform in the
character and improvement in the quality of the pictures it
accepted for exhibition. Vibert is a passionate devotee of the
drama, a persistent theatre-goer, and himself the author of some
witty and successful pieces. This side of his character is very
clearly revealed in the always dramatic and effective manner of
his compositions, in which a point is never lacking and in which
a story is invariably clearly and sharply told. He is an admira-
ble colorist, fond of daring experiments, and in his execution is
as accurate and painstaking as he is elegant and graceful.
PAGE
6 1 The Forbidden Book . . . . .159
1 7 3 An A7-t School . 218
VILLEGAS (JOSE DE)
Rome.
It was from Mariano Fortuny, whose genius inspired Spanish art
with new life, that Villegas received much of the direction and
form of his own talent. He was one of the artists who formed
the little colony in Rome which gathered about its gifted young
INDEX AND BIOGRAPHICAL NOTES. 121
leader, and in his peculiar line the most brilliant of them all.
When Fortuny made his famous visit to Granada, where he com-
menced his series of grand oriental subjects, he found there at
work making studies the young compatriot who was destined to
largely fill the place his death made vacant. The friendship thus
auspiciously begun was an enduring one, and in the biographies
of the brother artists their fraternity of thought and sympathy
forms an interesting and touching feature. Villegas is a native
of Seville. He studied first at the local School of Fine Arts, and
at the age of twenty went to Rome, where he devoted himself
assiduously to the study of the old masters. He succeeded in
making" an impression from the start, and his works found their
way directly from his easel into private collections, so that he
won little of the public notice that comes to artists from exhibi-
tions. Villegas, like Fortuny, early began to surround himself
with accessories contributory to his vocation, and his collection
of arms, armor, costumes, old furniture, and the like is one of
the finest in the world of art. In spirit and sympathy he is a
thorough Spaniard, and his most striking and triumphant works
are those which relate to and illustrate the characters and
customs of his native land. He stands to-day at the lead of the
Spanish school of art, and is, in his proper person, equally
respected and beloved. A modest and sincere man, to whom
his art is a part of his life, it has been truly written of him by a
distinguished critic : " He has that quick, intuitive perception of
form and anatomy which enables the leading artists of the Spanish
school to place upon the canvas life-sized figures in a variety of
easy, natural attitudes — figures which convey the impression that
they have the use of their limbs and can move about."
PAGE
No. 290 The Halberdier ...... 282
VOLLON (ANTOINE) Paris.
The greatest French painter of still life, who repeats in our day,
even more triumphantly, the successes of Jean Baptiste Chardin,
is also, in other lines, an artist with the power of a master.
122 THE SENEY COLLECTION.
Vollon was born in 1833 at Lyons, and is a pupil of Ribot. He
paints landscapes, marines, flowers, and genre subjects with
equal skill, but it is by his treatment of still life that he has
scaled the pinnacle of his fame. He went to Paris early, after
some years of self-instruction, through which he already pro-
duced noteworthy work. Though at first rejected at the Salon,
he struggled on, and in 1865 was rewarded with a medal. The
influence of Ribot strengthened and perfected his style ; the
critics found him out, and the public followed them. In 1S68
and 1869 came other medals, and in 1878 one of the first class.
The Officership of the Legion of Honor fell to him on this year,
after he had been a member of the order since 1870. It was a
study of two fish that secured him the red ribbon, and the picture
was purchased by the government for the Luxembourg, where
other works of his have since joined it. Vollon may be said to
have almost raised still-life painting to the dignity of history.
His arrangement of his subjects is always picturesque. His
color is superb, always fresh, ripe, and clear, and his brushwork
is vigorous and large, while never coarse or insufficient. Sub-
stantial quality, admirable lighting, and fine atmospheric feeling
are associated with his still-life subjects, as with those in which
the sea or the shore are treated, and they have been aptly char-
acterized by one of the critics as "interior landscapes." A
career of extraordinary success has crowned the labors of the
artist with prosperity, and the acknowledgment that he has
founded a dignified school of painting on the ruins of one of the
most mechanical and artificial departments of imitative art.
PAGE
No. 35 Flowers and Fruit . . . . .146
No. 113 On the Seine 188
No. 126 Still Life 194
No. 222 Still Life 243
WHITTREDGE (WORTHINGTON), N.A. . New York.
The history of Mr. Whittredge is, like that of many of his con-
temporaries in American art, one of struggle and of sturdy self-
INDEX AND BIOGRAPHICAL NOTES. 1 23
development and indomitable progressiveness. Born at Spring-
field, O., in 1S20, he was engaged in mercantile pursuits in
Cincinnati until his inclination to art completely overcame the
instinct for business, and he renounced the desk for the easel.
He was his own first master and teacher, and became a portrait
painter in Cincinnati, until, in 1850, he had accumulated the
means necessary for a trip to Europe, where he studied in the
public galleries of London and Paris, and thence went on to
Dusseldorf, where for three years he remained a pupil of Andreas
Achenbach. Belgium and Holland were his next study-grounds,
and in 1855 he went to Rome, whence he returned to settle in
New York in 1859. He was made a Member of the National
Academy of Design the following year, and in 1874 was elected
president of that institution, holding the office for three years.
A constant and loving study of nature and manly fidelity to her
simple truths are a characteristic of his landscapes. His style is
free and loose, and in the representation of foliage, especially in
forest tnteriors, he has achieved some of his happiest effects. He
is one of the few older painters of America whose art has kept
pace with the time, and who has not rested upon old laurels, but
gone steadily on to the conquest of fresh ones.
PAGE
No. 118 Sunday Morning (in collaboration with
Eastman Johnson, N.A.). . . 190
WIGGINS (CARLETON) . New York.
The first exhibit of Carleton Wiggins at the National Academy
of Design, in 1870, denoted the young painter to the expe-
rienced few to be a man whose vocation had not been mis-
takenly chosen. He was, at the time, a pupil of the Academy,
but had enjoyed no special instruction otherwise. His tech-
nique was a problem worked out by himself. He possessed,
however, a very broad and logical intelligence, and was not
averse to the solving of problems. For some years after he left
the Academy schools, he painted, upon his own instinct entirely,
I24
THE SENEY COLLECTION.
pictures of landscape and cattle that won him regard in public
exhibitions, and secured him a fair share of private patronage.
Finally, an amateur who recognized his great talent and its
needs, became his patron to a degree that enabled him to spend
two years in Europe, in 1SS0-81. Under the developing influ-
ences of the great art of France, his talent ripened rapidly. A
complete revolution in his style became apparent, and the fruits
of diligent study revealed itself in his strong and secure tech-
nique. Going to France as a painter of ability, he returned the
most completely equipped painter of cattle in America. For
some years he maintained a studio in Brooklyn, contributing
regularly to our exhibitions and finding places in private collec-
tions for many of his works. More recently he established him-
self in New York City, He is a member of the Society of
American Artists, and of the American Water Color Society, in
the councils of both of which associations he is a prominent
figure.
No. 204 Evening at Barbizon
PAGE
234
WYANT (ALEXANDER H.), N.A.
New York.
Since his first exhibition at the National Academy of Design, in
1865, A. II . Wyant has taken a place of honor among the first
painters of American landscape. He has delineated foreign
subjects as well, but it is in his native scenes, so strong in their
grasp of nature and so modestly poetic in feeling and expression,
that his loftiest powers show. lie was born at Port Washing-
ton, O., in 1836, and his earlier studies were made without
special schooling. After some years of experimental labor at
home, he went abroad, and acquired additional technical skill as
a pupil of Hans Gude at Carlsruhe, and as a student of the works
of Turner and Constable in London. In 1868 he was made an
Associate, and in 1869 a National Academician. From the
period of his permanent establishment of himself in New York,
Mr. Wyant has become the principal pictorial chronicler of the
INDEX AND BIOGRAPHICAL NOTES. 1 25
magnificent sylvan scenery of the Adirondack wilderness. Its
romantic forest interiors, its sparkling streams, translucent lakes,
and wild and lonely clearings ; its towering battlements of
frowning cliff and its walls of verdurous mountain-side, have
spurred his brush to its greatest achievements. It is an essen-
tial characteristic of his art that it is thoroughly native to the
soil. His foreign study has left no imitative impress upon him.
An American artist heart and soul, he paints American nature
as it is, full of the charm of primeval poetry that still breathes
through it. An accomplished draughtsman, an equally accom-
plished colorist, and a thinker of a gentle mood of harmonic
sympathies, the artist is reflected in his art, side by side with the
man, whose industrious years are rich in the prizes of private
life as well as in those of professional renown.
PAGE
. 134
. . 133
. 182
. 194
. 243
ZAMA^OIS (EDOUARD) .... Deceased.
A Spaniard with the wit of a Frenchman, a painter with the
satire of Goya and the art of his master Meissonier, it is no
wonder that the debut oi Zamacois in 1863 was hailed by Paris as
the rising of a new sun over the horizon of art. The artist was
then twenty-three years of age, burning with the fire of youth and
spurred by the daring of an audacious and fecund brain. At
each succeeding Salon his exhibits widened his popularity and
augmented his reputation, which was crowned in 1870 by his
" Education of a Prince," a satire so bitter and scathing, yet
withal so brilliant in its execution, that reprobation was dis-
armed by the genius of which it was the evidence. The picture
was the swan-song of the artist. He died in 1871, having
scarcely turned his thirtieth year. The life work that he left
No.
TO
The Evening Glow .
No.
[8
The Old House . . . .
No.
101
Evening .
No.
125
A New England Landscape
No.
221
Sunset .
126
THE SENEY COLLECTION.
formed a series of gems, sparkling with wit and color, in which
the influence of Meissonier showed in a certain decisiveness of
handling, but which were thoroughly individual and unique.
His color was pure and intense, his style finished and fine. It
was not enough for him to make his point, but he must also
make it as perfectly and completely as he possibly could. Like
Moliere, with whose genius that of Zamagois displays a decided
affinity, the effect of the artist's work was always allied with and
supported by the extremest elegance of execution. He was fond
of daring experiments of color, and his pictures were a perpetual
amazement and delight to artists more timid and less original,
who acknowledged in the fiery young genius from Bilboa one
worthy to take his place among those masters whom Paris was
proud to call her own, irrespective of their birth or blood.
When the war-cloud burst over France, Zamagois stood with
his future in his grasp, and the shadow of doom upon him.
After the wreck was cleared, when French art numbered its
dead, there was to be supplemented to those who had perished
upon the field of battle, the Spaniard who had become a
Parisian, and who, flying before the blasts of battle, had suc-
cumbed to the mortal malady which had prevented his serving
with his brethren in the ranks.
No. 206 The Frightened Butler
PAGE
235
ZIEM (FELIX)
Paris.
What Guardi was to architectural Venice, Ziem has been to her
canals and their prospects of palace and of park. In the earlier
stages of his career .he painted many fine pictures of French,
Dutch, and Turkish scenery, but it was when he commenced to
develop the mine of material in the Queen of the Adriatic that
he struck the keynote of his vocation. A native of Beaune, in
the Cote d'Or, he was graduated out of the art school of Dijon,
and began his productiveness by records of his wanderings in
Southern France. He received his first Salon Medal in 1851,
INDEX AND BIOGRAPHICAL NOTES. 1 27
for a picture of Dutch scenery, and was admitted into the Legion
of Honor in 1857 for his views of the Golden Horn at Con-
stantinople, and the Place of St. Mark at Venice. He has been
an Officer of the Legion since 1873. His color, which is the
strongest feature of his art, has the grand and mellow splendor
of the greatest period of ancient art. He is a capable draughts-
man, but not a strong one, as his early schooling was brief
and incomplete ; but in his Venetian views, painted from the
heart in pigments of living fire, there glows and flashes all the
harmonious magnificence of the South. His sunsets flame with
subtle melodies of color. His dawns over the lagunes and canals
of the Adriatic have the palpitating blaze of jewels. Where
Rico gives us the Venice of broad daylight, scintillant with real
sunbeams and brilliant with wide and penetrating light, Ziem
translates her mornings and her evenings into rhythmic notes of
color, which bring up in the memory of the spectator scraps of
the verses of De Musset, of the descriptions of Gautier, and
of the romances of Venice's own histoiy in its days of imperial
and irresistible power.
PAGE
No. 149 The Ca?ial of Chioggia, Venice . . . 206
CATALOGUE.
FIRST NIGHT'S SALE.
Wednesday, February n, at 7.30 o'clock, p.m.
In the Assembly Room of the Madison Square Garden.
*#* Measurements given are in inches, the first figures
indicating the height of the canvas.
di~
I. H. CALIGA
/*
Violet
x 8
Seen in profile, and facing toward the right at bust length, a young girl in
a white wrap is shown against a white background, smelling a flower which she
holds in her hand. Her head is slightly bent forward, and covered with a
wide-brimmed straw hat, around whose crown a white sash is wound. She
is of a brunette type, and her rich complexion and her dark hair make the color
note of the picture.
Signed in full on the right, 1884. Panel.
9
130 THE SENEY COLLECTION.
G. MICHEL
The Ravine Road
tr-
II X 1<
A rough road passes, under wooded crags, through a ravine in which a
river flows. Figures are visible fording the stream in the centre, and other
figures and a baggage-wagon are in the road at the right. This picture is of
the best period of the artist's first manner, when he frequently painted in col-
laboration with Swebach, and the figures are probably by the latter.
Painted on a panel.
GABRIEL MAX
A Suabian Girl
A blonde type, seen in full face, at bust length. She wears a red head-
dress, and a gown of white homespun cotton reaching to the throat. The
color is ripe and tender, and the painting of flesh and costume of the artist's
most substantial quality of life.
Signed in full at the right Canvas.
FIRST NIGHTS SALE. 131
GEORGE INNESS
Sunset
?/ suns%a 5
The outriding trees of a forest are seen at the right. On the left is a por-
tion of a pool of water. The glory of a crimson and golden sunset blazes in
the sky.
Signed at the right, G. I.vness, 1886. Painted on millboard.
5
CHARLES E. JACQUE
Morning
5Kx8^
Day is breaking over the roofs of the farm-buildings on the left. A shep-
herd girl, aided by her dog. marshals her fleecy flock out of the sheep-stable to
the fields for their day's forage. A flat landscape, with a horizon concealed
by small, bushy trees, extends to the right from the farm-buildings. The early
sunlight struggles through banks of cold, rainy autumn clouds, making a burst
of brightness behind the farm and leaving the rest of the landscape in shade.
Signed in full on the right. Panel.
132 THE SENEY COLLECTION.
G. JACQUET
The Brunette
12 X 11*4
fytn)
She is seen seated, nearly to the waist, in a blue gown of a decollete style,
with her head slightly bent and her face turned in profile toward the left. A
black ribbon, clasped with a jewel, encircles her neck, and her hands rest in
her lap.
Signed in full at the upper right. Panel.
7)
ALBERTO PASINI
A Constantinople Market
*> 14 xti
Under the wall of a building on whose tiled eaves a flock of pigeons co-
quette, sellers of melons and vegetables expose their wares for sale. In the
centre a public fountain discharges from the house wall into a stone trough at
which horses drink. Women who have come for water gossip beside the foun-
tain, and at the left are some open sheds, part of the market-place, and trees in
full verdure.
Signed in full at the right, 1886. Canvas.
FIRST NIGHTS SALE. 1 33
8
EUGENE ISABEY
The Black Squall
12K x 18
A sudden storm has arisen and is blowing in upon the coast of Brittany.
Fishermen are hurriedly beaching their boats at a jetty on the right. In the
middle ground an old castle on a rocky headland seems in its massive and stolid
strength to bid defiance to the elements that assail it. The scene is one of
movement and confusion, depicted with great spirit.
Signed at the left, E. Isaeey, '76- Canvas.
E. HEBERT
Flora
1^ c^
13 X 10
A young Greek girl, shown at bust length, is decking her tresses with a
wreath of summer flowers. Against a verdant background her face is seen in
shade. The light, coming from behind, lends it relief and richness of color
without sharp contrast. The type of beauty is pure and refined, the action of
the figure natural and spirited, and the sentiment of the subject expressed with
clearness, originality, and a thorough sympathy with the poetry of the idea
involved.
j F-0
Signed on top, right, in monogram, Panel.
134 THE SENEY COLLECTION.
10
A. H. WYANT
Evening Glow
10 x 14
£7)
From the interior of a forest the crimson light of sunset is seen through
the stems of the trees. The wood is obscured by the invading shadows of the
evening, so that only suggestions of its details may be obtained. A dim reflec-
tion of the sunset glow reddens the waters of a forest pool, choked with fallen
leaves, on the left.
Signed in full at the left. Canvas.
II
I. POKITANOW
The Hun/er 4^
61/, x 14^
A wide stretch of marshy landscape is broken in the centre by a clump of
trees on the farther brink of a stream. At the left, on the nearer bank of the
river to the foreground, the figure of a huntsman with game bag and gun is
discovered.
Signed in full at the right, '85. Panel.
Zfjyvi
FIRST NIGHT'S SALE. 1 35
12
G. H. BOUGHTON
The Rose
In a rural kitchen, a young mother sits, at the right, before an open win-
dow, sewing. She looks up, smiling, at the salutation of her little daughter,
who, from the garden without, reaches her through the window a freshly
plucsed rose. In the background the shrubbery and wall of the garden are
seen, with a clear, bright summer sky.
Signed at the left, Boughton, 1861. Panel.
JT
F. ROYBET
Dividing the Game / £W
A party of huntsmen have returned from the chase and halted at a tavern
to divide their game and refresh themselves before parting on their several
ways. They are seen about a table in the middle plane at the left. In the
centre of the foreground, two servants divide up the spoil of the chase, while
one of the hounds looks on. The painting of the figures, game, etc., is of the
remarkable quality in which the artist finds his most forcible technical ex-
pression.
Signed in full at the left. Panel.
136 THE SENEY COLLECTION.
14
F. M. BOGGS
View of Dordrecht ^ J"7^
x%y2 x 26
The city is seen from a foreground of water, on which float boats and lug-
gers moored to the quay. Along the quay is a row of trees, under which
figures are seen. Behind the trees is a line of houses, and in the centre the
picturesque cathedral towers up in massive bulk. The windy and clouded sky
is full of movement, which is communicated to the running rigging and pen-
nants of the vessels and to the water of the river.
Signed at the left, Boggs. Canvas.
15
F. D. MILLET
w
The Toilet
l6 X 12
At a table of sculptured marble, in the interior court of a Pompeian house,
a young lady in a diaphanous white robe, seated on a marble seat, combs out
her long auburn tresses while she Contemplates herself in a hand-mirror. The
ornate and rich details of the architecture are executed with elaborate skill, and
the figure is radiant in the clear light of summer sunshine.
Signed in full at the upper left, 1884. Panel.
FIRST NIGHTS SALE. 1 37
16
ALFRED STEVENS
Devotion
fVCJL
7% x 20
A fair worshipper at a Paris church is seen in full front. She wears a
straw hat trimmed with black, black dress and gloves, and holds before her in
both hands a red-edged book of devotions. The figure is revealed to the bust.
Signed in full at the left centre. Canvas.
17
A. VON PETTENKOFEN
The Return from the Fields
The farmer races his string of horses back from labor over a road that
enters the strawfield of the farm. Stacks of hay, straw, and stable refuse are
on either hand. Some frightened geese fly before the wild onset of the horses.
The cloudy sky of autumn is overhead.
Signed on the right, Pettenkofew Panel.
138
THE SENEY COLLECTION.
18
A. H. WYANT
The Old House
2?J
The old house occupies the right, near a bridge. Trees are at the left, and
in the centre is a pool. The sloping foreground is in shadow, while the middle
ground and distance show under a gleam of light from a rift in the clouds.
Signed in full at the left. Canvas.
19
BARON HENDRIK LEYS
Hunter Resting at the Inn
;
S~6
14 x 14
A huntsman, returning from the chase, has turned in at a tavern for refresh-
ment. He sits at the right, with an empty wine-glass in his hand, while from
the bar window behind him the barmaid applies a light to his long-stemmed
clay pipe. His game is on the table in front of him, and at the left, on a stool
against which his gun is leaned, his dog is curled up. The costumes and types
are of the seventeenth century and Flemish.
Signed in full at the right. Panel.
n
c
FIRST NIGHT'S SALE. 1 39
20
JOHN LAFARGE
Autumn Landscape
Autumn woods are seen, in a sloping perspective from left to right. The
sombre verdure of cedars and the glowing color of foliage that has been turned
by the frost are harmoniously contrasted under a strong, rich sky.
Signed at the left, Lafarge. Panel.
21
LUDWIG KNAUS
Bettina
I rvu
IO X
A head of a charming young girl, whose face is animated by a smile. Her
hair descends upon her shoulders and she is shown at bust length.
Signed at the upper right, L. Knaus, 1877. Panel.
l/ur
140 THE SENEY COLLECTION.
22
EASTMAN JOHNSON
The Culprit
IO X 12
The bad little scholar is seated on the tall fool's stool in a corner of the
school-room. He is a sturdy little, crop-headed, apple-cheeked fellow, and evi-
dently not yet repentant. He wears a blue suit and boots. One hand is in his
breeches pocket. The other is against his lips as if to repress his sobs. The
book from which his lesson has not been learned is on the floor. On the walls
hang the coats, caps, and satchels of his schoolmates, to whose industrious
study he is made an example.
Signed at the right, E. Johnson, 1867. Canvas.
23
JOSEF ISRAELS
The Fisherman's Children
ivr°
IIXI5^ J r
In the wash of the surf two youngsters are racing boats made out of
wooden shoes. Three smaller children approach them from the right, pad-
dling through the water. The sea breaks behind the figures in short, foam-
fringed waves, and at the right is seen a portion of a wharf, to which a couple
of fishing-boats are moored.
Signed at the right in full. Panel.
FIRST NIGHTS SALE. 1 41
24
WILLIAM M. CHASE
In the Park *
■ 14 x 19
Under a wall of rough stone on the left a park pathway ascends a gentle
slope. At the right the ground descends from the path in a grassy bank. In
the middle ground at the right stone steps lead to a higher level, under trees
amid the interstices of whose foliage the sunlight shines. A little child,
dressed in white, advances with cautious steps down the path in the shade of
the wall, watched by a lady who is seated on a bench behind her.
Signed in full on the left. Canvas.
25
BENJAMIN CONSTANT
Herodias %
21 X15
She stands in the centre, erect and haughty in her barbaric beauty, turned
toward the right. Her right arm and shoulder are bare . Her left hand sup-
ports a burnished copper charger against her hip. Her draperies of crimson
and cloth-of-gold are enriched with many jewels. The wall behind her is hung
with a magnificent tapestry in dark colors, and a gorgeous oriental rug covers
the floor.
Signed in full on the right. Canvas.
142 THE SENEY COLLECTION.
26
J. C. CAZIN
An Old Windmill
15 x 18
&r~v
On the summit of a sloping ground, a trifle to the left of the centre of the
picture, is an old windmill. Behind it the red-roofed, white-walled home of
the miller is seen. The slope of the hill is spaded for vegetables and a cabbage
patch occupies the foreground. Beyond the mill is a wheatfield, with sheaves
and cocks of wheat, and a line of trees shuts out the remoter horizon. The
favorite period of the day with the artist, the time just at the point of final sun-
set, shows in a sky crossed with shadowed clouds.
Signed on the right in full. Canvas.
27
G. H. BOUGHTON
Fading Light
12 X 18
The decline of day shows in a strip of sky, seen over the crown of a deso-
late and weedy hillside. Across the heath a poor, barefooted peasant girl,
trudging in search of shelter for the coming night, passes with accelerated
steps.
Signed in full at the left. Canvas.
$) fc
FIRST NIGHT'S SALE. 143
28
J. B. C. COROT
The Environs of Paris
3
\f/2 x iolA (/ &-*^
A view of Ville d'Avray, the artist's favorite summer residence. The vil-
lage is seen among trees in the middle distance, under the dip of a hill which
forms the foreground. A vast perspective of country, in which the distant city
is suggested, forms the remoter prospect. A road from the foreground
descends the hill. On the right of the foreground are trees, and on the left
some smaller shrubbery separating the road from cultivated fields. The light
comes from the right. A figure of a woman is in the foreground.
Signed on the right, Corot. Panel.
20
C. F. DAUBIGiNY
The River Front
/I
On the left are houses on the bank, a landscape extending to the right.
On the water and shore are figures and boats, the river occupying the fore-
ground. The light is diffused through the landscape from the centre of the
sky.
Signed at the left, and dated 1868. Panel.
144 THE SENEY COLLECTION.
30
A. G. DECAMPS
The Toilers
Climbing a hilly path, an old peasant woman, toward the right of the
picture, bears on her weary back a bundle of faggots gleaned from the forest.
Behind her, toward the left, two other figures appear, ascending the path, with
a background of forest and sky. Late autumn shows in the color of the vege-
tation and in the brooding sky.
Signed, at the left of centre, Decamps. Panel.
31
N. V. DIAZ
In the Woods
• 9^x14
/ ztfO
From a foreground shadowed by majestic trees an opening in the woods is
seen, into which the sunlight finds its brightening way. The tints of the foli-
age are variegated and enriched by the colors of early autumn.
Signed in full on the left. Panel.
i,uv)
FIRST NIGHT S SALE. 145
32
JULES DUPRE
^^v Autumn
i
Beyond a clump of oak trees which occupy the centre, farm buildings are
seen toward the left. On the right a level pasture extends to a horizon of low
hills. Cattle graze in the pasture, and a man advances along a road to the
farm. The rich vegetation is touched and warmed by the russet tints of the
waning year, whose bleakness has not yet declared itself.
Signed in full at the right. Canvas.
33
R. SWAIN GIFFORD
Woods in Autumn v
10 x 14^
A typical American forest of scrubby trees is made splendid by the colors of
autumn. The foreground is a clearing, overgrown with brush. Toward the
right is a pile of firewood, stacked up for removal, and a figure with an axe on
its shoulder advances into the wood to continue the work of destruction.
Signed in full at the left, i883. Panel.
IO
146 THE SENEY COLLECTION.
34
THOMAS HOVENDEN
Grandfather's Commission
20 x 14^
Grandfather is seen at three-quarter length, seated in the kitchen, conven-
iently near a window by whose light he is whittling out a toy boat for his
grandson. The importance of his employment is indicated by the critical
gravity with which he inspects the progress of his work, holding his model up
before him.
Signed at the left. Canvas.
35
A. VOLLON
Flowers and Fruit
24x19^ rJr\^Lt^
sO
In the centre, a cluster of flowers flourishes freshly in a tall glass jar filled
with water. On the table at the left are flowers in bunches. A couple of
oranges lie on the table at the right, and behind them is a yellow fan. A deep
blue curtain at the left gives brilliancy to the subtler hues of the flowers.
Signed in full at the right. Panel.
/
FIRST NIGHT'S SALE. 1 47
36
M. RICO
The Banks of the Adige
181,' x 31
On the left is a broad but shallow river, on whose hilly farther shore white
country houses show among the verdure. On the right, a canal passing be-
tween houses with gardens, and under arches beneath buildings, debouches
mto the main stream. Figures enliven the shore, which is made brilliant in
contrasts of light and shade by the penetrating brightness of an Italian sum-
mer sky.
Signed at the right. Rico. Canvas.
37
GEORGE INNESS
Springtime : Medfield, Mass.
16 X 24
The foreground is crossed by a creek in which cows drink. A meadow ex-
tends from the bank into the middle plane, and is dotted with grazing cattle.
Clumps of willow trees border the meadow, and at the extreme left the roof of
a farmhouse is seen above them. At the right a break in the line of trees dis-
closes a distance with low hills. The tender verdure of early spring is made
more delicate in color by the subtle moisture of the atmosphere.
Signed in full at the right, 1883. Panel.
148 THE SENEY COLLECTION.
38
A. MAUVE
u*l *- * /crmJ
Winter
20l4 X 28
The scene is on a Dutch farm in midwinter. Bare trees are in the middle
distance. The ground is covered with snow, and the sky threatens another
storm. At the left are houses, and a cart and horse occupy the centre of the
foreground.
Signed in full at the right. Canvas.
39
H. LEROLLE
The Wanderer
22 x 26
At the left a young peasant woman rests herself from the footsore tramp of
a long day, seated under a tree. She is evidently travelling in quest of employ-
ment. Standing before her is a shepherdess, who converses with her while her
sheep gather about and her dog watches them. In the fields which form the
distance, fires of brushwood are burning. The sun is descending in a cold sky
that threatens an inclement night and warns the wayfarer to seek a shelter.
Signed in full at the left. Canvas.
FIRST NIGHT'S SALE. 149
40
LUDWIG KNAUS
A Rustic Rose
8x6
A peasant girl, blooming with rustic health, is shown in full front at bust
length. Her face is a type of robust beauty, which atones by its fine flush of
life for what it lacks in refinement.
Signed in full at the upper right. Panel.
41
CONSTANTINE TROYON
The Windmill - rt
yen)
8^x10
On a hillock at the right an old windmill rises, with idle sails, against
a sunset sky. At the foot of the hill on the right foreground is a pool of
water. At the left passes a road which traverses an extensive plain into the
distance. Figures are in the road at the centre. The scene is the north of
France or in Belgium.
Signed in full at the left. Panel
I50 THE SENEY COLLECTION.
42
EMILE VAN MARCKE
The Cow-keeper
. 13K x IO
yrv
In the centre a dun-colored cow, with her back turned upon the spectator,
reaches up to browse upon the young foliage of a small tree. At the left of
her a man in a blue blouse with a straw hat cuts himself a cudgel from the
thicket. The strong drawing, solid execution, and color of the picture would
denote it one executed at a time in which the artist still preserved the memory
of his friend and master, Troyon.
Signed in full at the left. Canvas.
43
JOSEF ISRAELS
Making Pancakes
/<firO
A little Dutch housewife stands at the fireplace pouring batter from the
ladle into her frying-pan. A fire of turf burns in an iron grating on the hearth
at the left ready to complete the preparation of the morning meal. Her ex-
pression is one of absorption in her important task.
Signed in full on the left. Panel.
FIRST NIGHTS SALE. 1 5 I
44
CONSTANTINE TROYON
The Water Cart
\«,y2 x 18
A water cart drawn by an old white horse stands in the middle of a stream,
whence two men on the cart dip their supply of water up in buckets. Willow
trees and a landscape distance constitute the background, and the picture is
broad and simple in treatment, strong and cheerful in color, and vigorous in
execution. It was of this subject, with variations, that the artist made one of
his greatest successes of his middle period.
Stamped with the official sale stamp at the left. Panel.
45
CHARLES E. JACQUE
Landscape and Sheep
v^~ 7<^
Driving his sheep into the foreground, comes the shepherd. The animals
graze as they advance. Like all of the artist's pictures of this period, the
color shows him at his best in mellowness and harmony.
Signed in full at the left. 1840. Panel.
0 £d i~ i
152 THE SENEY COLLECTION.
46
GEORGE 1NNESS
The Last Glow
„ . ./>*
A swampy country in the foreground, with some trees on the right, is
seen in the last glow of the sun, which is just descending under the horizon in
the centre. The rich color of the sky is infused into the landscape with har-
monious splendor.
Signed at the left in full, 1885. Panel.
47
J. A. GRISON
The Bachelor's Toilet
8x6
3r^
An old beau of the last century is seated before his dressing-table. He is
partially encased in his gay attire of the day. and, seated with his hands upon
his knees, leans forward and studies his face in the glass, while a pretty serv-
ing-maid dresses his hair and compliments him on his appearance, evidently
to his complete satisfaction.
Signed at the right, Grison. Panel.
FIRST NIGHTS SALE. 1 53
48
J. C. CAZIN
The Carrier's Cart
15 X fi
h
The houses of a village are on the right. A road passes in front of them,
and it is bounded on the left by a broad canal, from which it is separated by a
heavy, open fence-work. A boat is seen on the water, with a lantern burning,
and there are houses on the farther bank, over which the moon shows a strug-
gling gleam among the clouds. The carrier's cart is in the road at the right,
the carrier himself marching in advance of it. Lights in the houses indicate
that the evening is yet young.
Signed in full at the right. Canvas.
49
J. B. C. COROT
The Path to the Village
15 x 18 1
A group of trees at the right shades the foreground. In the middle ground
is seen a stretch of water, and beyond a village. A path traverses the fore-
ground, and figures are seen upon it in the centre.
Signed at the left, Corot. Canvas.
ivW
154 THE SENEY COLLECTION.
50
C. F. DAUBIGNY
Hauling the Net
I3XU 'VV
The river occupies the right of the composition. The sky shows the move-
ment of rolling clouds. At the left, trees shade the bank, and on the brink of
the river fishermen are hauling in a net.
Signed at the left, Daubigny, 1873. Panel.
51
EUGfiNE DELACROIX
2 ^ ^ The Lion in the Mountains
10^ x 14
In his lair among the crags which form the background, the monarch of
beasts has been aroused by a suspicious sound. Facing toward the right, and
nearly in profile, he makes a formidable figure with his blazing eyes and brist-
ling mane. His tail lashes the ground and his impatient arms are ready for
the combat which the intruder may offer.
Signed in full at the right, 1851. Canvas.
FIRST NIGHT'S SALE. 155
52
N. V. DIAZ
An Opening in the Woods
^ ~a. J cnsO
/UVs
/
Through an arch formed by trees in the foreground, an opening in the
forest is seen, brightened by a golden summer afternoon. On the left, in the
foreground, is an oak-tree that has been blasted by lightning, and the first plane
is diversified by rocks and a pool of water. The figure of a woman wearing a
red skirt appears in the centre advancing from the brightness of the clearing
into the shade of the wood.
Signed in full on the left. Panel.
53
JULES DUPRE
The Old Farm
13 x 16%
7,™
From the right of the picture, extending to the left, a portion of a farm-
house of the humbler order is shown. It has the solid walls and the strong
roof of the habitations found in the north of France. At the left is a glimpse
of distant country . A figure of a woman is seen entering at a door to the
right.
Signed at the left in full. Canvas.
156 THE SENEY COLLECTION.
54
EUGENE FROMENTIN
The Gazelle Hunt
10 x 15%
At the left two Arab cavaliers are seated on their horses, while from the
right huntsmen and hounds drive a pair of frightened gazelles. The pursued
deer are seen in the middle of the picture, with huntsmen behind them, racing
for their lives before the dogs.
Signed in full at the right. Panel.
55
J. J. HENNER
Ideal Head £ ^
18 x 13
Turned toward the left, and seen at bust length, is the artist's favorite
type of youthful feminine beauty. The head looks out of the canvas, with
wide-open eyes and piquant lips. The brown hair descends in wavy masses.
The left shoulder is bare, and the left hand rests upon the breast, with a portion
of a red robe showing under the arm. The face, modelled against a dark and
simple background, is of a remarkably solid quality of flesh and vivacity of ex-
pression .
Signed in the upper left corner, J.J. Henner. Canvas.
M^l
FIRST NIGHT'S SALE. 1 57
56
J. E. C. ROQUEPLAN
At the Stile
19 x 13
In the centre an Italian shepherdess leans against a stile, over which a
young boy gossips to her. She has a distaff in her hand, and her flock is seen
behind her. A powerful color scheme and a solid impasto give the composition
richness and force.
Signed in full at the right, 1853. Canvas.
57
CONSTANTINE TROYON
A Poultry Yard
In the centre a young girl, with her apron full of corn, is feeding a flock of
fowl which cluster eagerly around her. Behind her is a chicken-house, built
up of wheat straw, and in the background an orchard in full summer foliage.
The serena dignity of the girl and the hungry bustle of the chickens form a
happy contrast.
Signed in full on the left. Panel.
158 THE SENEY COLLECTION.
58
JULES LEFEBVRE
Speranza
f,
S\
Seen at half length in profile, and facing toward the left of the canvas, a
young girl prays with her clasped hands uplifted. Her pure and devout face,
with its blonde hair, is seen in profile with the eyes upturned. Covering her
head and draping her body is a red cloak with a black band along its edge. A
glimpse of white linen relieves her hands against it at the wrists.
Signed at right in full. Canvas.
59
ALFRED STEVENS
The Watcher
19 x 14^
The honeymoon is on its wane. The bride, at the window of her hotel
room, pensively awaits her spouse, on whom the wedding tour has already
commenced to tire, and who is seeking some iresh excitement in the novelties
of a strange town. A white rose on the floor indicates the impatience of the
watcher, whose hat and wrap upon a chair show her to be waiting for an escort.
Signed in full at the left. Panel.
FIRST NIGHT'S SALE. 1 59
60
V. P. HUGUET
Bathing the Horses
»
26 x 33
A party of Arabs have ridden and driven their horses down to a little bay
on the seashore for a bath. Some animals are already in the water and others
are being driven in. Broad sunlight burns upon the treeless shores of the bay,
and gives a keen brilliancy to the color of the sea and the play of the breaking
wavelets.
Signed at the right, V. Huguet. Canvas.
6l
J. G. VIBERT
The Forbidden Book
/J
25^x21 ' '
Monsignor, in the scarlet vestments of his cardinalate, stands at the left
in his study severely lecturing his wilful niece. She is seated in an arm-chair,
with the interdicted volume into which she has slyly dipped in her hand. She
has been gathering flowers in the garden, as her hat filled with roses on a stool
at the left attests. Scientific instruments and books are on a table at the left,
and books and manuscripts are on the floor. The background is a wainscoted
wall, enriched with pilasters and carvings.
Signed in full on the right. Panel.
l6o THE SENEY COLLECTION.
62
A. MAUVE
Carting the Log / ^
32 X 22
Swung to a timber drag, a great tree-trunk is being hauled up a hilly road
A white and a black horse tug patiently at their burden. In advance of them,
at the left, their driver plods along. In the rear, at the right, the wood-cutter
keeps company with the victim of his axe. A winter evening is drawing on,
in a sky cold with the advance of an icy rain or snow. The half-frozen mud of
the road holds runnels and puddles of water. The grass by the roadside is
dead, and the thickets that fringe it are bare. Trees, whose skeletons still are
clothed with a remnant of their summer foliage, rise against the sky in the
middle plane. The scene is in one of the interior provinces of Holland, where
the artist found some of his finest subjects.
Signed on left in full. Canvas.
FIRST NIGHT'S SALE.
161
63
SEYMOUR J. GUY
Making a Train
18 x 24 /^
A little girl, in her garret bedroom in an old-fashioned farm house, is
indulging the inherent coquetry of her sex. She has discovered, in the closet
under the window at the left, a gay gown once worn by some maturer member
of the family, and over her night-dress she has arranged this garment so that
it shall form an imitation of the fashionable train which she has seen her elder
sister wear and covets for herself. At the right she has set her bedroom lamp
upon a chair, and it is by its light that she poses. The figure of the child is of
a beautifully ingenuous type and is beautifully rendered. The details are
arranged and executed with the most happy result. The effect of lamplight, in
contrast with the glimpse of the night sky caught through the window, is viv-
idly realistic. Undoubtedly in every opinion, critical or artistic, that has been
passed upon it. this picture is the masterpiece of a sterling American artist.
It is signed at the left in full, dated 1876, and is painted on canvas.
162 THE SENEY COLLECTION.
/O
64
H. LEROLLE
Resting
.-
24 x 29
?*l>
At the left a peasant girl is seated on the ground. She has beside her a
brass milk or water jar, and watches some figures returning from labor, which
approach her through a field in the middle ground. The time is evening.
Signed in full at the left. Canvas.
65
JEAN PAUL LAURENS
The Widow
24^4 x 19%
Jtnj
The lord of the castle has been laid to his last sleep in the crypt of the
castle chapel. The death candles.burn for the benefit of his soul in an altar
niche at the right, and their light falls on his stone sarcophagus in front of the
altar. Approaching from the left, his widow brings still another taper to offer
for his sake. Her figure is seen in profile, robed in black. Her bearing is
stately, though her expression is sad. She advances with a proud step, as if
repressing her grief by an effort of will, and so slowly that the flame of the
candle she carries held before her docs not flicker.
Signed in full on the right. Canvas.
FIRST NIGHT'S SALE. 1 63
66
GEORGE INNESS
Winter Moonlight
X 22x30
The winter moon shines upon snow-clad fields traversed by a road made
almost invisible by the drifts. A stone wall follows the line of the road on the
right, and a couple of bare saplings grow along it. A male figure is seen on
the road. The distance shows a line of woods, sombre and mysterious in the
gloom : and far away, at the right, a tiny light in a farm-house window guides
the wayfarer's course.
Signed at the left, G. Inness, 1866. Canvas.
67
R. CLEVELAND COXE
/^
The Sailing of the Fishing Fleet
20 x 30
On a sunny day, in almost a dead calm, the fishing fleet is crawling out of
a New England port in a long and picturesque procession. The schooners
are seen in profile, with all their canvas up, and dazzling in its whiteness
against the hot expanse of sky. The dories tow at the sterns and sides of the
vessels to which they belong, and on the right, in the distance, the headland of
the port of departure is seen.
Signed in full at the right. Canvas.
164 THE SENEY COLLECTION.
68
JULIEN DUPRE
In the Hayneld
26 X -3.2
The grass has been mowed, and in the foreground a sturdy young peasant
woman piles it upon a heap with a heavy hay-fork. Other figures work in the
field across the middle ground. The light and atmosphere are those of a cool,
bright day, and the action of the foreground figure exhibits an admirable
vivacity and strength.
Signed in full at the right. Canvas.
69
A. EDELFELDT
Knitting
20 X 33^
]n>
A little Finnish peasant girl is walking in the woods, knitting as she goes.
She advances toward the right of the picture. Her face, with its flaxen hair
terminated in front with two tight plaits, looks out of the canvas as if her
attention had been attracted by some passing object or unusual sound. Her
hands, however, still mechanically ply the knitting-needles, educated as they
arc to an industry independent of mere incidental curiosity.
Signed on right in full, 1886. Camas.
FIRST NIGHT'S SALE. 165
70
CHARLES H. DAVIS
The Coming Mist
20 x 27 <7^~
A level and grassy common extends across the foreground. At the right a
portion of the hurdle-fence of a sheepfold is seen, and near it some sheep
grazing. The middle ground is crossed by village houses, making a line
broken by the varying forms of the roofs. Behind the houses is a line of trees
and beyond them a ridge of hills. The sunset lingers in an afterglow in the
upper part of the sky. The landscape is entirely in shade.
Signed in full at the left, 1886. Canvas.
71
ADOLPHE SCHREYER
For Food and Shelter
27J4 X 22
The sledge of a country merchant, heavily laden with supplies which he
is bringing from market, has been overtaken by a snow-storm. The driver has
reached the door of a poor tavern or cabin in the wastes, and knocks for ad-
mission at the right, while his horse at the left stands passive in its traces,
bending its patient head to the beating of the tempest, which creates whirl-
winds of the fallen and falling snow.
.
Signed in full at the right. Canvas.
f?;/
1 66 THE SENEY COLLECTION.
72
H. SALMSON
Churning
22 x 24
J-v
An old woman, seated in the light of a kitchen window, churns at an old-
fashioned churn. She wears a white cap on her bent head, a bodice of coarse
gray-brown stuff over a blue gown, and sabots on her feet. She faces to the
right. In front of her at the right is a wooden bin filled with potatoes. Some
kitchen vegetables on the ground at her feet await the termination of her but-
ter-making to be prepared for the family soup. A story of stolid and uncom-
plaining labor is that which the artist very simply but eloquently tells.
Signed in full on the right. Canvas.
73
A. NEUHUYS
Industry
yw
21 X 26U
On the left a cobbler sits at a table in front of a window at work. His
back is partially turned on the spectator. On his right hand his wife is en-
gaged in mending a stocking. A child sleeps in a cradle at the right. The
scene is in a humble Dutch interior, where one room serves every purpose of
living, labor, and repose.
Signed at the left in full. Canvas.
FIRST NIGHT'S SALE. 1 67
74
ERSKINE NICOL
Mental Arithmetic
An Irish farmer has returned from market and is reckoning up on his
fingers, by a laborious mental process, the total of his purchases, which are
seen on the kitchen table. His figure is seen at half length, and his expression
of the utmost gravity gives the picture a touch of dry humor.
Signed at the left. E. Nicol, A.R.A., 1869. Canvas.
75
R. DE MADRAZO
Mme. la Marquise
39 x z6
It may be the Pompadour herself standing in front of her mirror, and ex-
amining the dressing of her hair by the double reflection of it and a hand-
glass. The graceful decoration of the rococo period renders the room a
fitting background for its inmate's elegance. Her hat upon a chair at the
right denotes her ladyship to be about to go upon the promenade.
Signed in full at the left. Panel.
ft
l68 THE SENEY COLLECTION.
76
P. J. CLAYS
On the Scheldt J Cnrd
~4
x34K <yv v
A flotilla of luggers drifts on the lazy tide in the centre and on the left,
and a fishing-boat is being rowed toward them. Their sails hang almost
motionless from their spars. In the middle plane at the right are large ves
sels, becalmed, and a steamship coming in, with other sails along the horizon*
The warm effulgence of approaching sunset pervades the sky and water and
is reflected on the idle sails.
Signed in full on the right. Panel.
77
m. munkAcsy
The Dreamer
Reclining on a red cushion, a female figure is seen at half-length and in
the size of life, asleep. The hair is down and the figure is nude to the breast.
The flesh is of pure and brilliant beauty, accentuated by the rich color of the
surroundings.
Signed in full on the left. Panel.
FIRST NIGHT'S SALE. 1 69
78
EMILE BRETON
Evening
22x33
The sun is setting, red and sullen. A sombre early winter night is coming
in. Through a scattered grove of spindly birch trees, the houses of a village
are seen on the right, while on the left are some of the buildings of a large
farm. A stagnant ditch, whose waters reflect the last sinister glow of the sun,
intersects the picture, and parallel with it a road passes through the village.
The mystery of night has already stolen upon the earth, and it requires only
another moment for the sun to vanish with his last feeble illumination, and
darkness to commence her gloomy reign.
Signed on the right in full. Canvas.
79
J. C. CAZIN
7/ Moonrise 3-^. v 6 cfO
IS x 18
At the left is a house, with some bushes. On the right, the road is bounded
by a low embankment. The houses of a village cross the picture in the middle
plane. Twilight has made its misty approach upon the landscape, but a faint
reflection of the sunset is still seen in the sky, in which the moon is rising.
Signed in full at the right. Canvas.
170 THE SENEY COLLECTION.
80
N. V. DIAZ
Flowers
13^ x 20
&T&
A study of a heap of cut flowers, assembled at random on a table. This
is one of the rare experiments in color with which the artist indulged himself
for his own pleasure, and which he rarely parted with during his lifetime. At
the upper right-hand corner, the harmonious contrast to the rich and splendid
color of the flowers is afforded by a glimpse of warm summer sky and a sug-
gestion of foliage.
Signed in full on the right. Canvas.
>
8l
C. F. DAUBIGNY
The River Oise
l3% X 23'A
The sun is setting behind the foreground bank of the river on the right,
gleams of its light being visible through the trees. In the immediate fore-
ground, village washerwomen complete their work and gossip, while a barrow
loaded with linen denotes the end of a day's labor. At the left a new moon
shows in the sky.
Signed at the right, Daurigny, 1872. Panel.
FIRST NIGHTS SALE. \J\
82
CONSTANTINE TROYON
The Herd
15 x 18K _>-; ^
In the foreground, a numerous and mixed herd of cattle and sheep graze
in a meadow. Trees are seen behind the animals, which are guarded by a
shepherd.
Stamped at the left with the official stamp of the studio sale held after the
artist's death. Panel.
/
83
N. V. DIAZ
The Pet Spaniel
9lA x *3
A lady is seated on a stone bench in a garden, caressing a pet spaniel
which lies in her lap. In her hair she wears the red rose, which in the symbol-
ism of the passions denotes the expected arrival of a lover, and the dog looks
up as if at the sound of coming steps.
fi-il
Signed in full at the left. Panel.
7l~,V
172 THE SENEY COLLECTION.
84
LUDWIG KNAUS
The Goatherds / try>^\
9% x7
In the foreground a little boy whittles a toy for a little girl who sits beside
him. The goats the young goatherds have been set to watch climb the grassy
bank behind and browse upon the tender foliage of the spring bushes.
Signed at the left, L. Knaus, '77. Panel.
85
G. B. QUADRONE
In from the Cold
l8^ X 12
An old poacher, who has been out in the winter fields, returns with his
hounds to his home. He is about to pass from the neglected and dilapidated
hallway into an interior room whose doors he is opening. The many trophies
of dead game hung on the walls show that age has not dulled his eye nor the
cold of winter made his hand unsteady at his prohibited but fascinating
pursuit.
Signed in full at the left. Panel.
FIRST NIGHT S SALE. 1 73
86
G. H. BOUGHTON
The Gipsy Girl
20 x 26
She sits in the hollow of a desolate common, at the decline of day, in an
improvised encampment before a fire of twigs. Facing toward the right,
awaiting the return of her vagabond sweetheart, who has gone foraging
among the neighboring farms for their supper, she thoughtfully watches the
flickering sparks, while the autumnal fog steals in upon her lonely refuge.
Signed at the left, G. H. Boughton, 1874. Canvas on panel.
87
P. A. J. DAGNAN-BOUVERET
On Market Day j.
15^ x 10K
A young and pretty peasant woman is seen at half length, seated awaiting
a purchaser for two fine fowl which she carries in a basket resting on her
knees. Her figure is turned toward the left of the canvas, and her hands are
clasped upon the arm of the basket. She wears a cap and cape of white muslin
and an apron of rough gray linen stuff over a blue gown, and her face is nearly
in full front on the canvas.
Signed on the right, P. A. J. Dagnan-B., 1886. Canvas.
174 THE SENEY COLLECTION.
88
F. VON DEFREGGER
The First Love Letter
J S-rd
2454 x 15
The Cinderella of the farm has just received her lirst sentimental corre-
spondence, and dropping her scullery tasks, is reading the letter at the light of
the kitchen window. The utensils of the place are scattered about its grimy-
precincts. The cat watches her friend's delighted perusal of her epistolary-
treasure with an interest almost as great as that of the reader herself.
Signed on left, Defregger, 1873. Canvas.
89
ALFRED STEVENS
The Japanese Room
31% x 22%
/yri>
At the right, a lady in a house- wrapper of pink and a little child are seated
at a table. A lady stands behind the table in the centre, and at the left a visitor
examines a piece of jewelry, which the ladies of the house have given to her
for a verdict upon it. The background shows a modern Parisian boudoir, dec-
orated in the Japanese style, with many Japanese objects of art and ornament.
Signed in full on the left, 1884. Panel.
FIRST NIGHT'S SALE. 1 75
QO
J. TISSOT
In the Louvre .
In one of the staircase corridors of the Louvre, visitors are examining the
objects of sculpture, etc., there displayed. Marble walls and columns support
the lofty ceiling. At the right a group of visitors, male and female, contem-
plate their surroundings with the idly curious interest of tourists. Toward the
left a man of a more studious temperament leans against a balustrade, with a
guide-book or catalogue in his hand, and absorbs the beauties of the place.
Signed in full at the upper left. Canvas.
91
ADOLPHE SCHREYER
The Rear-Guard
31%. x 27
A party of Arabs are advancing, toward evening, over a dangerous country.
The main body is seen in the middle plane, riding in a straggling line over the
broken ground. In the foreground a grim old warrior, forming the rear-guard,
keeps a sharp lookout for surprise, holding in his white horse with a steady
bridle-hand, and poising his long gun in readiness for use against his thigh.
Signed in full at the right. Canvas.
£(r?
176 THE SENEY COLLECTION.
02
EUGENE SALA
The End of the Game
15% x 24
Two men-at-arms, off duty, are playing at cards at a table in the hallway
of a Spanish chateau, while a third looks on. One gamester on the left hav-
ing tabled a winning card, looks in mocking triumph at his adversary, who,
seated opposite him, studies the game, evidently puzzled at the turn it has
taken. A wooden staircase ascends behind the group, and in the background
at the right a cellar filled with casks of wine is seen through an open door.
Signed on the right, E. Sala, Madrid, 1879. Canvas.
93
H. LEROLLE
The Shepherd ^
°)
32 x 25J4
The shepherd, with his cloak over his shoulders, leans on his long staff at
the right on the outskirt of a little grove. His sheep graze about him. The
broad and clear light of the summer moon at the left illumines the land-
scape to almost the clearness of day.
Signed in full at the right. Canvas.
<Ai
FIRST NIGHT'S SALE. 1 77
94
D. RIDGEWAY KNIGHT
/ Day Dreams
33x46
Stretched among the scented grasses and the daisies by the river bank, a
country girl indulges in those dreams that idleness and a happy mind bring to
the waking day. Her pet dog watches her gravely as she pursues the thread
of her pleasant anticipations. The river, with a bridge in the distance and
houses on the farther bank, forms the background.
Signed at the right, D. R. Knight, Paris, 186 •. Canvas.
95
FREDERICK A. BRIDGMAN
A, B, C y<W
36 x 29
In an interval of her kitchen labors, a young Algerine mother is teaching
her little one its alphabet. She is seated on an inlaid stool, with the baby in
her lap. With her left hand she holds the tablet on which the lesson is scored,
while her right arm supports the little scholar in its perch upon her knee. She
smiles as the child traces with eager finger some recognized letter among
the many as yet unfamiliar ones upon the tablet, from which the mother once
learned her own simple lessons on her own mother's knee.
Signed on right in full, 1883. Canvas.
178 THE SENEY COLLECTION.
96
G. CLAIRIN
The Puppet Show
ppCL OUUW
31 " 47
This is one of the pictures painted by Clairin during his last trip into
Spain with his friend, Henri Regnault. The showman has set his marionettes
dancing on their string at the gateway of a large house in a Spanish street.
A throng of chaffing and good-humored idlers, men, women, and children, sur-
round him, while the puppets gyrate to the tune of his partner's guitar.
Signed at the left, G. Clairin, Madrid, 1869. Canvas.
97
VIRGINIE DEMONT-BRETON
The Twins
37 * .i°
A young rustic mothe'r in the verdant garden of her humble cottage is
teaching her twin babies how to walk. She supports each upon its feet by a
firm hold on its single linen garment. The little creatures step out bravely
with uplifted feet, but a suggestion of timidity in the movement of their hands.
On the mother, as she stoops to accommodate her height to theirs, a shaft of
summer sunshine, penetrating the trees of the garden, leaves its light.
Signed in full on the left. Canvas.
FIRST NIGHT'S SALE. 1 79
98
E. RENOUF
Hoisting the Night Signal
44^2 x 37
At the extremity of a stone jetty, drenched with spray, two veteran
French coast-guardsmen are exchanging the flag used as a day signal to in-
coming craft for the lanterns employed at night. The flag has been lowered
from the signal staff, whose base is seen at the right. In front of it one sturdy
figure kneels, fastening the halyard to one of the lanterns which his standing
comrade holds. In the background a leaden sky, swollen with storm, is lower-
ing on an angry sea whose billows buffet a steam vessel which is coming into
port in the teeth of wind and tide, and the two guardians of the coast are from
their serious expressions evidently aware of the gravity of the moment and the
importance of their precautionary duty.
Signed on the right, Renouf, 1887. Canvas.
180 THE SENEY COLLECTION.
99
JULES BRETON
Brittany Washerwomen
/ (/i 1 0
54x79
Upon the seashore, where the fresh water of a spring which gushes from a
cliff at the right makes a little rivulet which flows across the foreground to
lose itself in the sea, the village washerwomen take advantage of it to make
its spreading pools a laundering place for their linen at low tide when the
sands are bare. They are grouped at the centre and left, under the shadow of
a pile of boulders darkened with sea-lichen. At the left three women kneel at
a pool, and one beats her wash with a wooden beetle, while the others scrub
and rinse with their hands. Seated upon the boulders, a girl with a distaff in
her hand leaves her thread untwisted while with her head turned she watches
for her sweetheart's fishing-boat at sea. At the right of the group three other
women are at work at the tiny rill, whose sweet water renders their work pos-
sible, and the centre of the group is a superb young female figure, a Diana of
the soil, who, her labor over in advance of the others, stands in regal beauty
even in her coarse attire, to case her strong young muscles from bending over
her completed task. In the right middle ground a girl carries a bundle of
cleansed linen off to be aned, and under the cliff two other female figures catch
water for domestic use in /essels at the source of the precious gift of nature. A
sweep of the coast makes a long crescent behind the washerwomen, whose
figures are thus relieved against the sea, and a grand and mellow harmony of
color enriches the composition.
Signed at the right, Jules Breton, 1S70. Painted on canvas.
From the Governor Morgan collection, New York.
J
)
( .-.u I 1
SECOND NIGHT'S SALE.
Thursday, February 12, at 7.30 o'clock, p.m.
In the Assembly Room of the Madison Square Garden.
100
G. JACQUET
Winter
W/\ x 11
7'
Facing toward the left, a charming young girl, with a furred mantle over
her shoulders, is seen at bust length in profile against a background of blue
drapery. Her face has the rich and healthy color that comes from a brisk walk
on a cold day.
Signed in full at the upper left. Panel.
1 82 THE SENEY COLLECTION.
101
A. H. WYANT
Evening
3'
I", '_■ X 12
The sun is already under the tiorizon, and only faint reflections of its color
in the sky are i epeated in the sedge-rimmed pool in the foreground. Some
trees at the left give balance and variety to the foreground.
Signed in full on the right. Canvas.
102
EDOUARD FRfeRE
I ^ Maternal Love ^ L'
In a poor room, a widowed mother works as a seamstress, while she
watches her little child, which sleeps in a wicker crib. The surroundings are
those of poverty, mitigated by the natural good taste of honest womanhood
and the impression of the picture is cheerful in spite of its sad subject.
Signed in full at the right, 1861. Panel.
SECOND NIGHT'S SALE.. 1 83
103
J. A. GRISOX
U (A The Critic ^
7™ fr^
8x6
A painter of the seventeenth century has recti vcd a visit from a patron.
The great man, gayly attired, is seated before the easel in the studio, com-
menting severely on the picture upon it. if the expression of his purse-proud
face may be rightly interpreted. The artist, whose rubicund visage and
shabby black clothes betoken him to be of a convivial nature, stands, listening
anxiously to the decisions of his patron.
Signed at the right, Grison. Panel.
J
104
G. H. BOUGHTON
Going to Church
2G X I4
A Puritan maiden has set out from the old grange, whose lodge and park
form the background, to traverse the winter fields to the house of worship.
She carries her prayer-book in her hand. The ground is thick with snow and
the air is heavy with frost. The type and costume are those of England at the
period of the Commonwealth.
Signed at the left. G. H. B. Canvas.
■-
1 84 THE SENEY COLLECTION.
105
E. CHARLEMONT
In the Studio
^i^>
A young artist of the period in which the Van de Veldes flourished, and
who might be one of the brothers himself, is seated in his studio contemplat-
ing a painting on which he is at work. He has his palette on his thumb and
his brush in his hand. Behind him the light enters through a tall studio win-
dow, and reveals a litter of books and other odds and ends, and a model of a
Dutch war-ship on the ledge.
Signed at the right, E. Charlemont, '84. Panel.
106
JOSEF ISRAELS
iQXV
I / Home Duties
13^ x 20K
*•>
In the kitchen of a humble Dutch cottage the housewife sits at a table sew-
ing, by the light of a broad window, through which the farmyard is seen.
Her babe sleeps in her lap with its head pillowed against her breast. An older
child, dragging a toy-horse by a string, stands beside her looking at some
chickens that pick crumbs of food from the floor.
Signed on the left in full. Panel.
'/7>
SECOND NIGHT'S SALE. 1 85
y^>o
107
CARL MARR
Sunday Morning
i9y2 x xS%
In a village carpenter shop the apprentice boy sits reading on the morning
of the weekly holiday. A cat and her kittens play among the idle tools and
the shavings on the floor. Through a large window at the back bright sun-
light illumines the many details of the scene, which are painted with elaborate
care and realistic accuracy. Outside part of an orchard is visible.
Signed in full at the left, 1887. Canvas.
108
EUGENE- ISABEY
j ~yt On the Jetty j> "
13 X iq%
In the middle of the foreground a picturesque old timber jetty juts out
into a harbor, into which fishing boats and trading luggers are beating to es-
cape a rising gale. Groups of figures crowd the pier to watch the incoming
craft. In the middle ground at the left on another jetty is the massive bulk of
an old lighthouse, whose lantern has not yet been lighted.
Signed in full at the left. Panel.
-''.
1 86 THE SENEY COLLECTION.
109
CHARLES E. JACQUE
The Hillside Pasture
On the slope of a hill rising toward the left and dotted with stunted olive
trees a shepherdess is seated. Her sheep browse along the hillside at the
right. In the distance the slope of the country reveals a plain brightened by
the sun, which leaves the foreground in shadow.
Signed in full at the right. Panel.
no
LUDWIG KNAUS
<s
f) b^ The Coquette ~~ll)
0 >
\2V2 X IO
Facing toward the left, a piquant beauty of the last century conducts a
flirtation, with any one who may look at her, with her fan. A smile lights her
face, and the rose of invitation is in her hair. Her rounded neck is set off with
a black velvet band that gives substance and brilliancy to its pearly and warm
flesh.
Signed in full at the upper right, 1889. Panel.
r
//
SECOND NIGHT'S SALE. 1 87
III
7^
THOMAS COUTURE
Liberty in Chains
t _ ■
/
One of the most magnificent allegories which the artist produced. The
poet and the patriot, shackled hand and foot, is a prisoner in a palace. His
brow is crowned with worthless bays, and a laurel wreath wilts and rots on
his idle lyre at his side. On his other side, an overturned vase disgorges the
polluted gold of bribery at his manacled feet, and an urn overflowing with
the ripest fruits of abandonment seduces his appetite. Sombre and sad, he sits
alone with himself among these corrupted and corrupting magnificences, an
incarnation of the noblest human mentality laid in chains.
Signed at the right, in the centre, T. C. 1867. Panel.
J
112
R. SWAIN GIFFORD
Midsummer, Dartmouth
12 x 24
The foreground is occupied by a level and grassy field, in which a woman
is putting her household linen down to bleach. At the left, under an um-
brageous group of trees in the middle plane, is a farm-house and its out-build-
ings. The open plane on the right gives a view of a strip of sea to the horizon.
Signed on the left in full. Canvas.
188 THE SENEY COLLECTION.
113
A. VOLLON
( On the Seine
16 x 27
The scene is on the Seine, upon the lower river, where the stream accom-
modates the needs of the great manufacturing industries that cluster about the
city of Paris. The high left bank is crowned by factories, whose lofty chimneys
belch smoke against the sky. Under it some boats and barges are moored.
The right bank is covered with bushes, a lingering remnant of the country
which the advance of the great town is steadily stamping out. A boat and
boatmen are seen on the river.
Signed on the right in full. Panel.
/ord
114
GUSTAVE COU.RBET
A ' **i
A Norther £- tn)
20 x 24
A beach of shingle crosses the foreground. At the left a boat is beached.
The sea breaks on the strand in massive rollers. Across the horizon from the
right the peculiar, sinister clouds which prelude a storm from the North Sea on
the French coast roll in sullen solidity.
Signed in full at the right. Canvas.
SECOND XIGHT S SALE.
189
/•;
-xi
115
D. W. TRYOX
/Moonlight
03
In the centre of the picture the moon, which is nearly at full, rises brightly
in a clear sky. Her light, diffused through the landscape, brings its larger de-
tails into visibility out of the obscurity in which the smaller facts of nature are
lost. At the right foreground is a haystack. Behind it a house shows, with a
light in its window, and the dark bulk of a barn. This picture received the
Gold Medal of Honor at the American Art Association Exhibition. 1887.
Signed in full at the right. Canvas.
Il6
GEORGE IXXESS
Twilight
?*
24 x 30
,*■
A brook with rushy banks traverses the foreground, and at the extreme
left a portion of a tall tree is shown. Beyond the brook is a meadow, in which
lofty trees rise on the right, while in the middle ground crosses the rich foliage
of a park, amid which the white summit of a stately country house may be dis-
cerned. Cattle seek water at the creek and graze in the meadow.
Signed in full at the left. Canvas.
^
190 THE SENEY COLLECTION.
) .
<7-
117
G. MICHEL
The Old Oak
-
/ 17H x 23
W ^ (/4«J*J-' > 6 "°
In the foreground is a dead oak tree, whose smaller branches have long
since fallen the prey to decay. At its base is the trunk of another, which has
been felled by the woodcutters. A grove of stunted oaks fills the middle
ground, and through their trunks on the right is visible a landscape perspective.
On the left a woodcutter is entering the grove.
This picture, like many of Michel's studies from nature, is painted on paper
and mounted on canvas.
Il8
JOHNSON-WHITTREDGE
a Sunday Morning
1L '
15^ x 22V2
This picture is the joint production of two artists who are distinguished
members of the National Academy of Design of New York. It shows the in-
terior of a New England kitchen. This portion was painted from nature by
Mr. Whittredge. Into it Mr. Johnson has introduced an old farmer in his Sun-
day attire, who, sitting at a table under the window, reads from the family
Bible to his wife.
The picture is signed at the left, " W. Whittredge, figures by Eastman
Johnson," and is painted on canvas.
SECOND NIGHT S SALE.
I9I
119
ALBERTO PASINI
The Attack
L£pb
16x21 ■ y
A party of Arab cavalry are attacking- a castle. The horsemen gallop out
of the foreground on the right, under a heavy fusillade from the fortress, whose
walls extend in perspective from the left. Wild confusion, rendered more con-
fused by the smoke of the fire on both sides, gives the scene its spirit and
movement.
Signed in full at the left, xi
Canvas.
120
<^cM)
A. MAUVE
Home to the Fold
x 31
■1
Q__
A shepherd in a blue blouse, assisted by his dog, is marshalling his flock
home to the fold from the pasture. The sheep are crowding in at the open
door of the stable on the left. In the distance, a cold and rainy sunset fades in
the sky behind a horizon of trees, and the landscape is wet with recent
showers.
Signed at the right in full. Canvas.
/
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)
192 THE SENEY COLLECTION.
{-V^TTG
121
H. LEROLLE
i
Sc/O
Watching and Waiting
24 x 20
f^O
Night has fallen, and the good man has not yet returned to the farm-
house from the fields. The two women of the house have come outside the
door to watch for him, one of them with her baby in her arms. They stand in
the road side by side, striving to penetrate the darkness with eyes sharpened
by anxiety. The rising moon just peeps over the summit of a hill which
forms the horizon, and over which passes the road by which the absent man
must come to those who watch and wait for him.
Signed on the left in full. Canvas.
122
CHARLES H. DAVIS
The First Frost
20 x 27
I
'
The first frost has come during the night. Its rime whitens the earth in
the chill glow of the early morning sky. The trees of the orchard in the fore-
ground have been touched by it, and the whole portents of the season have
been seized upon by the artist with subtle skill.
Signed in full at the left. Canvas.
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rTfTi'n
f^
SECOND NIGHT S SALE. 1 93
123
A. EDELFELDT
An Interesting Book
15 X X?
A lady, in a white house-gown, is seated in an arm-chair. She holds the
latest instalment of a new novel in her hand. Another young woman, in a
blue neglige, sits on the arm of the chair and listens as she reads. The scene
is enacted in a handsome room, and at the left a mass of flowers show in a
brazen jardiniere on a table.
Signed in full at the right, 1888. Panel.
124
yd
J. C. CAZIN
The Full Moon /
21 X 25
It is a bright and luminous summer night. At the right stretches a wide
and level plain, portions of which have been recently furrowed by the plow.
A road passes on the left into the distance toward a village, which is visible in
the middle ground, and in one of whose windows glows a solitary light. The
moon rides high in the sky toward the right, and the whole scene is one of
perfect placidity and repose.
Signed in full on the right. Canvas.
1.3
C7
194 THE SENEY COLLECTION.
125
A. H. WYANT
A New England Landscape
18x30
Early autumn is commencing to color the thickets and rob the grass of its
vivid green. In a stony and briery foreground some cattle forage for food.
A spacious distance reveals far away the smoke of burning brushwood on a
farm.
Signed in full at the right. Canvas on a panel.
126
A. VOLLON
L
t/b Still Life a
24 X 20
On a table are grouped some fruit, with a porcelain dish, a blue bottle in
brilliant underglaze, and a gilt ewer, painted with large and firm execution
against a dark back-ground.
Signed in full at the left. Canvas. \
SECOND NIGHT S SALE.
195
127
CONSTANTINE TROYON
\lS^
Sheep
I3X 16
.
In the centre a fine, well-fleeced old sheep stands, looking toward the
right, and almost in profile, at another, which is seen to the right, almost in
full front. A gray, rainy sky and a low-toned, level landscape form the back-
ground. The execution has the accuracy and force of a careful study from
nature.
Stamped at the left with the official stamp of the Troyon sale, held after
the artist's death. Canvas.
128
C. F. DAUBIGNY
£.
The First Catch
13^ X 22^
5 &*
At the left a verdant bank crowned with trees ascends from the water.
On the right the remoter bank of the river, which makes a turn in the middle
ground, is covered with bosquets of bushes. At the left bank a fishing-boat is
moored, and a fisherman is landing the first catch out of his net. A flock of
ducks on the water are just setting out in quest of their morning meal, and
early morning brightens the luminous sky.
Signed at the left, Daubigny, 1873. Panel.
I
6 J
196 THE SENEY COLLECTION.
129
N. V. DIAZ
Evening
^ \>
In a plain dotted with trees cattle and figures are seen in the foreground.
The sun is setting and its last rays harmonize sky and landscape.
Signed in full at the left. Panel.
130
JULES DUPRE
. '
/ tm)
A shepherd is driving his flock to the brook for water. The sheep appear
over the bank toward the left. At the right are some slender trees. The shep-
herd, on the bank in the centre, is calling up the stragglers of the flock.
Signed at the left in full. Panel.
ft
JbCrO
SECOND NIGHT'S SALE. 1 97
131
C. F. DAUBIGNY
A Village on the Oise
t
14x22
On the summit of a rising river-bank at the right, the roofs and walls of
the village are seen above and along a stone wall, lighted by the sun in broad
masses. A flock of geese waddle up the bank from the water, and a figure is
engaged in some employment at the margin of the stream. At the left, the
other side of the river shows a rustic landscape, with trees. One of the hun-
dred masterpieces exhibited in Paris, 1883.
Signed at the right, Daubigmy, 1875. Panel.
132
J. B. C. COROT
Near Ville d'Avray
16x21^
Trees shadow the right of the foreground, whose turf is bespangled with
spring wild flowers. The cool waters of a little lake make a mirror in the
middle plane for the shimmering sky. In the background are seen some hills,
with houses, and the figures of three peasants give life to the first plane.
Signed at the right, Corot. Canvas.
\1
J-
I98 THE SENEY COLLECTION.
133
A. G. DECAMPS
The Sentinel
10% x 7K
At the doorway of a pasha's house two soldiers are on guard. One, a
gray-bearded veteran, sits in the shadow of the portal on the step. The other,
at the left, a stalwart young- Janissary, stands erect against the wall, with his
long gun in his hand. The sunlight of midday makes a mellow play upon
their figures in the lights and shadows of the palace wall.
Signed at the right centre, Decamps. Canvas.
n
134
E. FROMENTIN
The Wheat Harvest
13 X 22
A picture of the time when the artist had not yet devoted himself to per-
petuating the glories of Oriental life and scenery. It shows how he was
originally influenced by the example of Millet until he found his more individ-
ual and original method of expression. The subject, evidently drawn directly
from nature and painted on the spot, shows peasant women in the open field
sheafing the wheat or gleaning the stray stalks that have escaped the harvester.
Signed in full at the right. Canvas.
/ \rri>
SECOND NIGHT'S SALE. 1 99
135
EUGENE ISABEY
V
, r, \ The Fisherman's Family
19% x 26
On the beach in the foreground at the left, the children of the fisherman
make a group beside part of their father's latest catch, which has been tossed
upon the sands. Behind them is a beacon post with its box in which the lan-
tern burns at night. Fishing-boats are seen in the middle ground, and the
scene is brightened by a cheerful and peaceful sky.
Signed in full at the right. Canvas.
136
GEORGE INNESS
Sunset
\ey2 x 24
The sun is setting at the left of the picture with final flashes of color in the
rifted clouds. The distance is a wilderness, already dim with the rising mists
of its streams and the falling twilight. In the middle ground at the centre a
sheet of water shows. The foreground is a grassy bank, dipping in the centre
and rising at either side, with a fallen tree and brushwood, and the scene is a
typical episode of the wildernesses of Northern America, seen at the most pict-
uresque period aud under the most poetic circumstances of effect.
Signed in full on the right, 1888. Canvas.
pofU
200 THE SENEY COLLECTION.
t
137
F. D. MILLET
The Flower Girl
ine r lower wn y
\>
20 x 16
She is seated facing toward the right, and with flowers on a table before
her and in a basket in her lap. Her figure, which is seen at half length, has
the supple grace of youth, and her face is crowned with a wealth of golden
hair.
Signed in full at the right, 1886. Canvas.
138
A. MAUVE
Evening Twilight j , r~Q
22 x 30
At the left the farmer's wife, with her baby in her arms, has come to the
door of the cottage to call her husband to his evening meal. He is still at work
weeding out a vegetable patch in the middle ground. On the right of the pict-
ure is a paddock and a haystack, and between it and the farm-house passes a
road which loses itself up a rise on the ground fringed with shrubbery and
trees. The time is the early Summer season, when to secure a favorable harvest
the cultivator of the soil must spare no toil nor lose a moment of the time
available for labor.
Signed on the right in full. Canvas.
5>
SECOND NIGHT'S SALE. 201
139
JULES LEFEBVRE
Fatima
7f* I.
ixV-, x 18
2JlA x 18
The portrait of a handsome Oriental woman seen at bust length, with the
face in three-quarter view turned toward the left. The heavy black hair
which falls upon the shoulders is confined above the forehead with a circlet of
silver wire hung with silver coins. Large gold hoops are in the ears, and
around the neck is a necklace of coral and beads. A robe of blue cloth with
gold embroidery covers the shoulders, and the background is a light tapestry,
which gives the bold and spirited head a strong relief.
Signed on the right, above the shoulder, in full, 1888. Canvas.
//?P
140
CHARLES E. JACQUE
Stormy Weather
16x13
A shepherdess is driving her flock home before a rising storm, which
shows in sullen gloom in the sky. The flock passes across the canvas, while
the dog, behind its mistress, calls up the stragglers. Some trees at the left of
the picture make a bulwark for the animals against the driving blast.
Signed in full at the right. Canvas.
202 THE SENEY COLLECTION.
Jo
141
EASTMAN JOHNSON
The Bath
J
22 x 26%
1
At a purling spring in the woods a young mothe." Is about to bathe her
babe. The little fellow has been disrobed and stands on the margin of the
spring supported by his mother, who lies upon the greensward, laughing at
the timidity with which he views the water. At the right an elder sister of the
hero of the occasion, with her sleeves turned up, sits ready to assist in the puri-
fication of his sturdy little body.
Signed in full on the left. Canvas.
142
JOSEF ISRAELS
The Sailboat
<7vlJ ' '
22 x 15%
The two little barefooted daughters of the fisherman have made a sailboat
out of one of their father's worn-out wooden shoes, and are floating it in the
back-water of the strand. Behind them the breakers boom upon the sands.
In the shallow pool their humble galleon is afloat, and they watch its progress
with eager and interested eye, each clasping the other to her side.
Signed at the right in full. Canvas.
\\^
SECOND NIGHT'S SALE. 203
143
P. A. J. DAGNAN-BOUVERET
) The Brigand /a:
20 x 16
He stands in the doorway of a low tavern, with his cloak over his shoul-
ders, a powerful ruffian alert for attack. His truculent expression indicates
the approach of possible danger, and the desperate resolution to meet it to any
extremity of resistance.
Signed on the right, P. A. J. Dagnan-B., 1882. Panel.
144
J. C. CAZIN
On the Hill
2Sl/2 X 32
At the right are houses and a garden, of the form of construction and com-
bination of color which the artist finds such pleasure in painting. Trees are
on the left. One of the painter's most successful examples of his ability to
convert the simplest material into a picturesque and artistic totality.
Signed in full at the right. Canvas.
r-T
204 THE SENEY COLLECTION.
145
WILLIAM M. CHASE
Still Life
23 x 14
A group of grapes, apples, a partially-peeled lemon, and other fruit on a
table with a tall jug. Harmonious in its arrangement of color, and of a broad
and firm style of execution.
Signed in full at the left. Canvas on panel.
I46
G. H. BOUGHTON
Tarn O'Shanter
20 x 30
By the pallid flash of the lightning the hero is seen flying across the bridge
pursued by the demons of the night, with whom the whole air seems peopled.
It is the critical moment of the story as Burns sings it in his immortal ballad.
The evil spirits have no power to cross a running stream, and Tarn's gallant
gray mare has passed this Rubicon just in time. The fantastic movement and
spirit of the story are seized upon and illustrated with surpassing spirit.
Signed in full at the left. Canvas on panel.
;
SECOND NIGHT S SALE. 205
147
CONSTANTINE TROYON
I The Red Cow *>*-,* \
37x,9jM? /^
A powerful study from nature of a red cow. The animal is seen in a wide
stretch of open country, and wears a halter, as if it had recently escaped from
a paddock or stall. The color is low in tone and the technique exceptionally
vigorous.
Painted on canvas.
148
ADOLPHE SCHREYER
q, v The Watering-place
32K x 16&
In the middle ground, on the margin of a wood, is the tent of a gipsy band.
Behind, at an opening in which the sunset glows, some horses graze. In the
foreground a gipsy boy rides a gray horse into a pool to drink. The animal
advances down a slope toward the left, with its rider perched upon its back in
an attitude of easy confidence.
Signed in full on the right. Canvas.
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206 THE SENEY COLLECTION.
^ 149
F. ZIEM
The Canal of Chioggia, Venice
The view is from the point where the Chioggia debouches into the Grand
Canal. At the right foreground are houses and boats of various characters.
Across the broad and placid waters of the Grand Canal is seen the Place of St.
Mark, with the Doge's Palace, the cathedral, the campanile, and the facades
of the palaces along the canal. Gondolas, trading luggers, and fishing-boats
ply upon the water, and from the right hand the flush of evening illumines and
warms the scene with a splendor of roseate gold.
Signed at the left. Panel.
150
THEODORE ROUSSEAU
The Old Oak Tree
w
In the centre an aged and wide reaching oak tree shadows a road on the
right, and a house whose wall shows beneath its foliage. An opening at the
right reveals a distant landscape. Strong color a.id a rich tone combine in
powerful unison.
Signed in full at the left. Panel.
60
SECOND NIGHT'S SALE. 20J
151
CONSTANTINE TROYON
The Storm
r
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On the right is a river, with a house among willow trees, and a boat. At
the left cattle graze, and in the centre are two figures. In the distance, toward
the right, a wharf and some boats are visible. A storm darkens the prospect,
and gathers power for its onset in the sullenly clouded and boisterous sky.
Signed at the left, Troyon. Canvas.
G ^
152
C. F. DAUBIGNY
On the River Oise
14 * 26K ^
•-2/-LJ
The richly grassed bank, rising on the right, is crowned with trees. In the
right foreground are some cows, and figures are visible on the river bank.
The placid water reflects a warm spring sky, and the farther shore and distance
are illuminated with the tender radiance, while the foreground is left in shade.
Signed at the right, Daubigny, 1865. Panel.
<f7*
208 THE SENEY COLLECTION.
153
JULES DUPRE
In the Channel
/
19 X 12
9-
Fishing-boats and trading luggers are being buffeted by a Channel sea on
a squally day. The sky is full of wind and the sea full of movement. A little
fleet of boats are scudding to right and left, and evidently preparing under the
menacing sky for a return to a safe harbor.
Signed in full at the right. Panel.
154
N. V. DIAZ
The Sultana
8xix5* ' l\
A young princess of the Orient, splendid in her rich habit and her gems,
idles an hour away in the garden of her palace. It is midsummer, and all na-
ture smiles in the sunlight, from which the Sultana has taken refuge in the
shade of a myrtle bower.
Signed at the left, N. Diaz, '65. Panel.
SECOND NIGHT S SALE. 200,
155
J. B. C. COROT
The Nut Gatherers
n
rrd
2 2 X
22 X l8
In the foreground of an opening in a grove of nut-trees, figures are en-
gaged in gathering the fallen nuts. In the middle ground, others are shaking
a tree to bring down its fruit. The grove closes in the scene with a wail of
green, through a break in which, on the right, a gleam of light is visible. The
sky above the trees is bright, with gray clouds.
Signed on right, Corot. Canvas.
J
156
GEORGE INNESS
October
22 x 27
The frost fires of October burn in ruddy and golden splendor in the foliage of
an autumn wood and in the grass and underbrush beneath its shade. Through
an opening in the centre, a deep, rich blue sky makes a spot of harmonious
color. At the left is the figure of a man in a blue shirt, who is traversing the
wood.
Signed at the right in full, 1886. Canvas.
73
. >~*
L.
2IO THE SENEY COLLECTION.
157
EUGENE FROMENTIN
The Meeting for the Chase
m
X 21
A hunting party of Arabs assembles in an oasis of the desert. On the left
the early arrivals saddle their horses and prepare to break up their bivouac.
From the right the late comers advance, with huntsmen, hawk, and hounds.
A mounted cavalier of the first party, with his long gun across his pommel, is
seated on his white Arabian steed in the centre, and his favorite hound is be-
side him. He exchanges a greeting with the leader of the later party, who
carries a hawk upon his hand. The meeting occurs in a grove of stunted
trees.
Signed on the left in full. Panel.
158
G. BOLDINI
After the Bath &
Tn the centre, the favorite of the harem enjoys her siesta after her bath,
stretched luxuriously on her rugs and cushions. At the right a nude Ethiopian
slave gathers together the linen. On the left a macaw pecks at some fruit on
the floor. A passageway at the left gives a view of a tropical garden.
Signed at the left, Boldini. Panel.
SECOND NIGHTS SALE. 211
159
A. DE NEUVILLE
Billeted on the Enemy
L ( S 12x8 Cy^fM^-J
A Prussian soldier, who has had his billet assigned to him in a conquered
country house, sits on a table, smoking his pipe, with a wine-bottle at his side,
waiting for his reluctant hosts to direct him to his compulsory lodgings. The
house has evidently been either plundered or bivouacked in. Broken wine-
bottles litter the ground, and the room shows signs of great disorder.
Signed in full at the right, 1876. Canvas.
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l60
LUDWIG KNAUS
The Invitation
8x6
Seated against the wall of a village ball room, a Bavarian country-girl, in
gala dress, invites a partner to the dance with the rose which she twirls in her
hand. Her demure attitude of assumed repose, and the coquettish action of
her hand, are in admirable contrast and spirit.
Signed at the left, L. Knaus, 1888. Panel.
2^
4
A
212 THE SENEY COLLECTION.
161
CONSTANTINE TROYON
Return from the Pastures
yfcT/O
0Q«
I
15 X 22
At the extreme left a peasant woman is driving some cows in a straggling
procession along a forest road . The color of autumn in the foliage is made
splendid by the golden glow of the descending sun, which makes a burst of
light in the distance, through the leaves, leaving the foreground in shade.
A picture remarkable for its fine and harmonious color and its freedom of
execution.
Signed in full on the left. Panel.
/(
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V
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162
THEODORE ROUSSEAU
Evening
Through the close-set stems of a wood, the warm color of a sunset sky is
seen. The shades of evening already darken in the wood itself. At the right
a little brook threads the forest. The left foreground is a grassy rising
ground, across which a figure passes as if to enter the wood.
Signed in full at the left. Canvas.
1
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SECOND NIGHT'S SALE. 213
163
C. F. DAUBIGNY
The Crane Covert
At the approach of evening, the cranes have returned to their favorite
haunt. They are seen in the shallows of the stream which makes its winding
course from the left of the picture, composing themselves to the rest of secure
solitude as the last glow darkens in the sky. The middle ground and distance
show a rolling country, whose undulations are broken by scanty vegetation.
Signed on the right, Daubigny, 1872. Panel.
I64
ERSKINE NICOL
G Patience is a Virtue
\>
24^ x 18
;
A brawny rural tenant, who has handed in an appeal of some sort to the
squire, waits in the hallway while His Honor, in the parlor beyond, peruses
the letter at his leisure. The applicant stands in a half doze, resigned to any
fate that may come to him, and patient to await its announcement. The types
are Irish.
Signed, E. Nicol, A.R.A., 1869. Canvas.
fJ>jL
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214 THE SENEY COLLECTION.
165
ALFRED STEVENS
Meditation
27 x 20
9j
A female figure in pink, with black hair, is shown al hall-length. She
rests her head on her right hand and her left hand upon the right arm. A icd
drapery gives delicacy to the color of her dress and brilliancy to her complex-
ion.
Signed in full at the left. Canvas.
166
H. LEROLLE
Bringing- Home the Flock
Ay
29 X 28J4
A shepherdess is leading her flock homeward at sunset through a field
where the harvest has been gathered. Clouds darken the last lij,rht of the sky.
Beside the shepherdess walks her pet lamb, which fondles its young mistress
as it goes.
Signed in full at the right. Canvas.
,0
nf
SECOND NIGHT'S SALE. 215
167
H. BOLTON JONES
September
22^ x i$y2
In the right foreground is a pool fringed with rushes. A hillside of turf
with croppings of stone ascends to the left, and is traversed by a low stone
wall. Over the dip of the hill at the right a glimpse of distance is seen under
a sky with rolling clouds.
Signed in full on the left. Canvas.
I
168
GEORGE INNESS
A Virginia Sunset
30x45
Scattering trees occupy the foreground. Beyond them is seen a forest,
among whose bare branches gleams the brightness of the sunset sky. At the
right, in the middle plane, is a cabin in the woods, and a woman is advancing
toward it out of the foreground. A pool at the left catches a faint reflection of
the sunset color, and the ground is whitened with frost.
Signed to the left of centre, G. Inness, 1889. Canvas.
7
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2l6 THE SENEY COLLECTION.
169
G. JACQUET
Roused from Reverie
i\yA x 18
r^O
K
Suddenly aroused from reverie, a charming woman looks with her full face
out of the canvas. An expression of inquiry is in her eyes. Her left hand
rests upon her breast, as if to hold together the folds of a fichu of white lawn
which is draped over her shoulders. The figure is seen at bust length.
Signed at the left in full. Canvas.
170
E. HEBERT
Music
25T/< x 20
fl
6 ^
Her figure is seen at half length, with a green forest for background. Her
face is of a delicate and refined classical type, and her brown hair, which is
bound with a fillet above her brow, falls in wavy tresses over her shoulders.
I ler face, as she touches the strings of an inlaid lyre, has an expression of ten-
der rapture, as if responsive to the strains her fingers evoke. The figure is
shown in half shadow, and the picture is of a low key and harmonious in color.
Signed on the left, E. II. Canvas.
'
IcaJ
SECOND NIGHT'S SALE. 217
171
AUGUSTE BONHEUR
Morning in the Highlands y ) *■>
28^ x 39X
The mists of dawn have arisen from a Highland lake, and wreathe among
the crags and peaks that environ it. In the foreground a flock of sheep are
gathered on a jutting point, where, having come down for water, they await
the return of the protecting shepherd in humble patience.
Signed in full at the right. Canvas.
U
172
PIERRE BILLET
The Mussel Gatherer
26^ X 21^
A stalwart young woman, barefooted and coarsely clad in a short sxirt of
red cloth, is awaiting the fall of the tide, seated on a boulder on the sea-shore.
The basket which she has brought to carry the mussels she is in quest of
rests inverted on the stone, and she props her right elbow on it to support her
head, while her left hand is planted on her hip. The sea behind her is bathed
with the roseate flush of an afternoon that draws toward its close.
Signed at the left in full, 1886 Canvas.
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2l8 THE SENEY COLLECTION.
7 2.1
173
J. G. VIBERT
An Art School ^4^
24 x ii
In the foreground, at the left, the model is seated, with his legs crossed, in
a chair upon a podium. He wears the full uniform, red and blue, of a
French guardsman of the period of Louis XVI., and smokes a long-stemmed
clay pipe. His figure is powerfully lighted by the gas concentrated upon him
by two reflectors. The litter of a studio fills up the foreground. Across the
middle extends a line of students, who draw and paint from him by the light of
lamps, which are shaded with paper so that they may not radiate their rays.
Signed in full at the right. Panel.
S$~
174
ADOLPHE SCHREYER
26 x 34
J 9^ On the March £>yQ
A war party of Arabs is about to ford a stream. The leader of the advance
guard, a grim and sinewy veteran of many forays, reins his black horse up at the
ford to call back a direction or warning to. the rest. The commander, wrapped
in a white burnous, rides haughtily in the van of the main body, followed by
his standard bearer and warriors.
Signed in full on the right. Canvas.
SECOND NIGHT'S SALE. 2 1 9
175
ALFRED STEVENS
. — On the Coast
The children of some poor toiler of the sea are shown upon the shore.
The girl leans upon a stout staff, while her little brother presses against her,
staring in wonder, not unmixed with fear, at some object unseen to the spec-
tator. The pair are returning from some long and weary errand, and the
girl has rested the large bundle she has been carrying on the ground.
Signed in full at the left, '83. Panel.
176
H. SALMSON
^ The Philosopher
29x21
A little child of the sea-shore has come down upon the beach to await the
incoming of his father's fishing-boat. He is a sturdy urchin, with an intelli-
gent, tow-haired head, and a color made rich by sun and wind. He wears the
miniature costume of a sailor, a blue blouse, and breeches of a similar color
that leave his strong little legs bare ; and stands in the balanced attitude, per-
haps instinctively assumed, of a seaman on the deck of a vessel at sea.
Signed on the right in full. Canvas.
220 THE SENEY COLLECTION.
77
177
ADOLPHE ARTZ
f Evening
26 x 36
GCs^. /
rv
Weary of a long trudge over the sandy path, an aged woman has seated her-
self in the shaggy grass. She rests with bent head, her staff in her left hand,
a picture of exhaustion and feeble old age. A little girl, standing beside her,
looks wistfully toward the distant village, whose church spire rises out of the
plain. It is yet a long journey thither for the grandmother, and evening is
coming over the earth, as the evening of her life has fallen on her.
Signed at the right, Artz. Canvas.
I78
J. B. C. COROT
IjC* The Bathing Boys
(
[/v-7 Ir SL^
In a shallow stream sheltered by trees and thickets, and doited with the
leaves and flowers of the water-lily, village urchins are bathing. While they
splash in the water, in the full enjoyment of its refreshing coolness, a sturdy
youngster at the right watches, with a stick in his hand, against possible in-
terruption.
Signed at the left, Cokot, 1840. Canvas.
/'.
SECOND NIGHT'S SALE. 221
179
CONSTANTINE TROVON
QJZ<rO Harrowing ^ 0^
23'4 x 31
The harrow, drawn by a team composed of a white and a brown horse,
is guided by a blue-bloused farm laborer. It breaks a rich, dark soil, that
promises a fruitful crop. Strong color and powerful execution.
Painted on canvas.
-ll
180
N. V. DIAZ
Le Temple de l'Amour
27 x 15J6
In the myrtle garden of the Temple of Love, two cupids are enticing a fair
young victim to the sacrifice with competitive allurements. Her figure is
nude to the hips, from which a red drapery descends to the ground. She
stands in the centre, in a pensive attitude. On a flowery- bank at the left, one
cupid whispers his temptations in her ear, while at the right, on the ground,
another impatiently calls her attention to his rival enticements. In the back-
ground, the marble portal to the Temple into which the puzzled girl is being
invited shows against the rich, blue summer sky.
Signed on the left in full. 1S57. Canvas.
— - 9 C r <n/
&&
222 THE SENEY COLLECTION,
181
.JOSEF ISRAELS
The Frugal Meal
28 X 41
The family are gathered at dinner in the kitchen of the farm. On the
right the father sits at the head of the table, with his sabots, which he has
removed to ease his feet, weary with labor, on the floor near his chair. At the
opposite end, the mother serves the porridge. Two children sit with their
backs to the spectator, and facing them, on the opposite side of the board, is
the baby in its tall chair. Beside the father the family cat sits contentedly
near the bowl in which she has been given her share of the frugal feast.
Signed in full at the left. Canvas.
182
GEORGE INNESS
The Coming Storm x
3° x 45 I J
Clouds driven by the wind from the left are obscuring the sky and shad-
owing the landscape. The scene is a wide meadow land, with a pool of water
at the right of the foreground and a clump of trees in the middle plane. Frost
has already touched the vegetation and given variety to its color.
Signed at the right, G. Inness, 1888. Canvas.
/
SECOND NIGHTS SALE. 223
LUDVVIG KNAUS
£p 2 \ Thoughts of Better Days /. jyx)
Seated on his pallet in his garret home, a poor old man makes his break-
fast off black bread and dried fish. His venerable and intelligent face denotes
him a man capable of bringing philosophy to his support in his hours of trial.
His hat at his side and his staff show him ready to set out for another day's
toil for a meagre subsistence, and the whole picture is a sympathetic and col-
orful idyll of the life of the poor.
Signed in full at the left, 1888. Canvas.
I84
W. L. PICKNELL
7r0 November
24x38
Under a chill sky, portentous of snow, crows forage in the bare and
deserted fields which make the foreground. A group of oak-trees in the
middle distance, denuded of foliage, interlace their gaunt branches against the
lowering clouds. In the distance, a few lingering autumn tints still color the
landscape, which constitutes a picture of typical American scenery, faithful to
the season in spirit and effect.
Signed in full on the right. Canvas.
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224 THE SENEY COLLECTION.
185
A. EDELFELDT
' The Last Passenger ~H
26 x 33
Some girls who have been picnicking in the woods are about to return
home at eventide in their boat. They row up to the shore to take on board a
little girl, who forms the last of their party. The boat, with three figures in
it, is seen at the left. The last passenger stands on a rock in the water at the
right. Over the quiet water, illuminated by the last rays of the sun, the moon
sheds a silvery gleam.
Signed in full on the right, 1884. Canvas.
186
ALEXANDRE CABANEL
/ (Ttfk Rebecca
34x28
crui)
Rebecca, in the centre of the picture, leads her fleecy flock down from a
craggy background. The golden glow of evening slumbers in the sky behind
her. She carries over her shoulders a light switch as an emblem of authority.
She wears a simple white robe with a colored scarf over it, sandals on her bare
feet, and a flower in her hair.
Signed at the left in full, 1884. Canvas.
/jf/V
SECOND NIGHT'S SALE. 225
I87
CONSTANTINE TROYON
. Entrance to the Wood
28X X 2
On the left at the entrance to the forest some wayfarers rest upon the rich,
green turf. A man on horseback, who is about to enter the wood by a road on
the right, calls to them. He is seen under a branching old oak tree whose foli-
age, like that of the thickets and forest, shows the season to be autumn.
Signed in full at the left. Canvas.
3/
188
J. B. C. COROT
Oak Charlemagne
tlLcrv
i8lA x 25
d
At the left an umbrageous group of trees shades the ground, and at the
base of the largest, a massive oak, a peasant woman picks mushrooms in the
grass. In the centre two women gossip as they drive a cow. In the distance
a stream of water crosses a far-reaching landscape.
This picture bears the double signature with which the artist was accus-
tomed to distinguish works with which he was especially well pleased. On the
nght is Corot, and at the left the date, 1870. It is painted on canvas.
15
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226 THE SENEY COLLECTION.
I89
C. F. DAUBIGNY
f) J (/\) The Washing-place
■ j f
13K x 23
t^rx)
On the left at the brink of a river, to which a grassy bank slopes from the
right, some village washerwomen are at work. The bank is crowned with
trees, and on the farther shore a line of trees rises against the distant hills.
Signed, at the right, Daubigny. Canvas.
190
J. L. E. MEISSONIER
/ yt Bowl Players in the Fosse at Antibes
Under the walls of the old Vauban fortress, which extend in a perspective
broken by their bastions, from the left, the experts of the town are indulging in
the favorite game of the Provencal athlete. They form various groups along
the dry fosse, some playing, others discussing the game, and others looking idly
on, and the many figures are full of vivid life. At the right, in the road, aris-
tocratic spectators look on from a carriage. A clear and sunny sky gives the
sharp, dry brightness of a perfect day in the south of France to the scene.
This picture, which is one of Meissonier's favorite and triumphant experi-
ments at difficult effects, is from the Sccretan collection, sold in 1889.
Signed at the right, E. Mkissonier, 1885. Panel.
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SECOND NIGHT'S SALE. 22J
IQI
H. LEROLLE
Morning at the Farm
29 x 28^ f
At the left the wall of a farm-house is seen and a stone wall enclosing: the
farmyard crosses the middle ground. Over the wall, and through the foliage
of the trees which fill the yard, the brilliant light of early morning flashes in
broken beams. A peasant girl, carrying a pail, advances in the centre, and
behind her at the right two geese feed along the ground.
Signed in full at the right. Canvas.
n
192
F. ROYBET
The Secret
A party of free-lances, after a successful foray, are dicing and drinking
away their plunder in the common room cf a Spanish cabaret. The period is
of the middle of the seventeenth century. Into the riot of the revel the stand-
ard bearer of the troop has entered at the doorway at the right, and the trum-
peter, who has preserved his sobriety as befits an officer, is communicating to
him, in a discreet whisper, the events that have passed in the tavern during his
absence.
Signed in full at the left. Pane).
set tisr
228 THE SENEY COLLECTION.
193
JULES DUPRE
The Farm
29x36
bftl>
Under a clump of oak trees which occupies the centre of the picture, the
wall of the farmhouse is seen toward the left. At the right are some other
farm buildings. The foreground is a plateau, rich with a thick growth of
grass, and traversed from the left by a path leading to the farm, in which a
figure is seen. At the right, in the immediate foreground, is a pool of water.
The color is the intense green of midsummer seen at its most powerful pitch
under a burning sky.
Signed in full at the left, Canvas.
194
CONSTANTINE TROYON
Q rrtti The Ewe Lamb >
(jfe
45x3554
In the pasturage, a fine old ewe watches, with a maternal solicitude that
is almost human in its expressiveness, her little lamb, which is just learning
its lessons of caring for itself. In the middle ground at the left are grazing
cattle and on the right a shepherd. The picture is a study of living models, of
great accuracy of drawing and a masterly style of execution.
Signed at the left, C. T. Canvas.
tyzri)
SECOND NIGHT'S SALE. 229
195
N. V. DIAZ
After the Storm
f L ^ 6
31 x 39J4 <-^
The rain-clouds are breaking in a gray sky over a rocky hillside. On the
right is a tree. Rocks and brush diversify the ascent, whose grass is richly
green from the recent shower. A narrow and irregular path leads over the
summit of the hill from the right foreground, and under the tree on the right
a female figure is visible.
Signed, N. Diaz, '64. Canvas.
I96
L. L'HERMITTE
I <1{A Noonday Rest
t
30^ x 38^ '
The laborers in the harvest-field are resting after their dinner, indications
of whose consumption appear in the empty basket and the dry wine-bottles.
In the immediate foreground a girl sleeps, with her head pillowed on a sheaf
of wheat. Behind her sit a man and a woman — fine rustic types — who are
chatting with a woman who, with a baby on her left arm, is carrying with her
right hand a sheaf of wheat to the stack.
Signed in full at the left. Canvas.
ni
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I 1
230 THE SENEY COLLECTION.
197
ADOLPHE SCHREYER
Come Here !
0 ,„ J tTyx)
46x36
A Wallachian horse-breeder has gone out into the pastures to reclaim his
vagrant colts. He sits his steady-going and experienced old horse at the left,
and snaps his fingers to invite wichin reach of his halter a shy and yet not cow-
ardly little red colt of his herd that contemplates him from the middle ground
toward the right.
Signed at the right in full. Canvas.
tfn
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198
KARL HEFFNER
The Gloaming
38x61
A broad and tideless river extends to the very horizon under the shadow of
a showery sky, which is lighted along the horizon-line by the last pale gleams
of a humid sunset. On the bank at the right is a heavy and sombre growth of
trees, among which the gray and crumbling walls of a partially-ruined grange
are discerned. The shadows of the bank reach down into the water, and the
sentiments of desertion and of solitude are most poetically expressed.
Signed on the right in full. Canvas.
0
SECOND NIGHT'S SALE. 23 1
A
199
JEAN PAUL LAURENS
CM ^^
The Grand Inquisitor
45x58
The head of the terrible Inquisition stands erect in the centre of the com-
position, a stern old man of an ascetic type. He menaces with a gesture of th^
hand, in which he holds a crucifix, a nobleman and his lady, who are seated
under a window at the right. They are being subjected to a question and
threatened with the dread authority of the dark and merciless society for the
enforcement of their answer.
Signed in full at the right, 1886. Canvas.
200
BARON HENDRIK LEYS
X/CVd The Declaration
48 x 33
In the centre a lady, leisurely putting on her glove, as if for a promenade,
listens to the proposal of a cavalier in black at the left. He bows deferentially
as he speaks, and his face shows the interest he feels in his words. The ladv
accepts his advances with a somewhat indifferent expression. The costumes
are of the sixteenth century. The background is a rich Flemish interior.
Signed at the right, H. Leys, 1863. Canvas.
232 THE SENEY COLLECTION.
£ta^
201
T. ALEXANDER HARRISON
La Crepuscule
35 x 70
The moon is rising at its full, in a sky still faintly colored by the afterglow
of the sunset. The crests of the wave-lines in the peaceful sea are silvered by
its beams. The long rollers break upon the beach in the foreground, sending
their wash high up upon the sands, with fringes of creamy foam, and at the right
a patch of bare beach is seen. The delicate gradations and contrasts of color
caused by the conflicting lights, and the luminous atmospheric effect, ranks this
picture not only a masterpiece but as one of the great marine paintings of the
world.
Signed in full at the right and painted on canvas.
THIRD NIGHT'S SALE.
Friday, February 13, at 7.30 o'clock, p.m.
In the Assembly Room of the Madison Square Garden.
202
GABRIEL MAX
7 7 r 77 >~c
St. Theresa
The saint is shown at busc length, with her pure young face in three-
quarter view, turned toward the left and uplifted in prayer. She wears a
black nun's robe, and a hood with white lining, with a coif and collar of
white linen, which give her face, by contrast with its vivid vitality of color, a
brilliant verisimilitude of life.
Signed in full at the upper right. Canvas.
9
234 THE SENEY COLLECTION.
-
203
CHARLES E. JACQUE
J2^5~ A Morning Call
15% x 12& '
Two rustic girls, evidently an elder and younger sister, are about to enter
the open door of a farmhouse. They stand in a courtyard paved with stone.
Farm buildings wall it in, and some fowl peck among the stones of the court.
A picture of ripe color and extremely delicate execution.
Signed in full on the left. Panel.
204
^ro
CARLTON WIGGINS
Evening at Barbizon
13 x 20
In the gloaming of a summer evening sheep are advancing homeward
down a slope above whose crown the sunset shows between the stems of fruit-
trees. A peaceful harmony of color carries out the restful suggtstiveness of
the hour and scene.
Signed in full at the right, 1884. Canvas.
Mr0
THIRD NIGHT'S SALE. 235
205
JOSE DOMINGO
1 ' ^ The Bravo
He stands against a column at the gateway of a tavern, ogling some pass-
ing nymph of the street. He wears the costume common to the mercenaries
and bravi of the seventeenth century in Spain and Italy, and is a robust and
truculent figure. Figures are seen in the tavern at the right.
Signed in full at the right. Panel.
/u
206
t. ZAMAgOIS
The Frightened Butler
6Kx4k
At the left a liveried butler, who has evidently been taking liberties with
the liquid contents of the pantry, makes a defensive stand with the handle of
his floor brush against a suit of armor set up on a stand in a dimly lighted
hallway. A firm but delicate execution, high finish, rich color and effective
chiaro-oscuro characterize the picture, which is one of those exquisite minia-
ture works with which the artist won his Parisian reputation.
Signed in full at the left, 1866. Panel.
4'
236 THE SENEY COLLECTION.
207
J. FRANCIS MURPHY
Autumn
); & 7
q x n
3 erj
9X 13
In the middle ground at the right a part of a grove of trees shows, colored
by the frost but yet in full foliage. At the left, in the foreground, is a pool of
water, and the sky is filled with rolling clouds.
Signed in full at the left. Canvas.
208
JOSEF ISRAELS
The Fisherman's Daughter
13% X JOx/i
A young girl plods barefooted along the sea shore, with a fish-basket on
her back. She is going to meet the returning boat of her father, from whose
catch the empty basket will be filled. The sea, with a high horizon, and the
sky, form a background for her sturdy figure, moving across the canvas from
right to left.
Signed in full on the right. Panel.
THIRD NIGHT'S SALE. 237
200
C. F. ULRICH
.
J^7 The Wood Engraver
18^ x 10
A young woman in a black dress, with a lace ruff at her throat and a red
neckerchief over her shoulders, sits with her back almost turned to the specta-
tor, in front of a window, outside of which a brick house-wall in sunlight is
seen. She is turned toward the right. The work-bench in front of her is
covered with the tools of the wood engraver's craft. On the wall behind her
toward the left are a shelf with plaster casts on it and proofs of engravings.
She is seated *n a wooden chair, painted in a dull yellow.
Signed on the right, Ulrich, '82. Panel.
210
M. FORTUNY and B. FERNANDI
ST/"
Street Scene, Naples ff? ~j-t)
9K x 14J4
This is a view of the street of Sta. Lucia, in Naples, painte ": by Prof.
Fernandi, of the Malaga Academy of Fine Arts, and animated with figures,
vehicles, etc., of exquisite delicacy and spirit, by his friend Fortuny.
Signed on the left by both artists. Panel.
7 2 I f~ G l/s'
238 THE SENEY COLLECTION.
c ^ If
211
A. DE NEUVILLE
The Outpost
20% x 12
The scene is the advance post of a Parisian suburb which has been shelled
by the Prussians. In the background are dismantled buildings. Across the
middle ground is an improvised breastwork, behind which, at the left, two
soldiers crouch watchfully. The officer of the guard makes his round, a stout
staff in his hand, his figure occupying the centre of the picture, young, reso-
lute, and ready for defence upon the first alarm. The time is winter.
Signed in full at the left, 1876. Canvas.
212
GEORGES MICHEL
Landscape
l8 X 22
rl8 X 22
A hill crosses the foreground, with a clump of trees on the left. In the
immediate left foreground is a log, and at the right a road which pas jes over
the hill. This road is seen continued through a vast distance of landscape,
diversified with trees and distant houses, illuminated in places by the light
struggling through the clouded sky.
Signed in full at the right (a rare occurrence in this artist's pictures), G.
Michel, 1824. Canvas.
THIRD NIGHT'S SALE. 239
213
W. A. BOUGUEREAU
- -o
Night
18 X 10
Night is typified by a graceful young female figure, whose perfect beauty
of form and color is only partially concealed by a flowing and diaphanous
drapery of black. She descends upon the earth from a sky in whose canopy of
darkening blue, stars twinkle faintly, -vhile a faint flush of sunset still shows in
the clouds that hang over the horizon. Upon the ground which she approaches
in her descent, the waters of a little stream catch a pale light, as if from a new
moon, and owls hover in the air. The picture is one of a series which was
painted to typify the divisions of the day.
It is signed in full at the left and painted on canvas.
214
GEORGE INNESS
, Sunset at Nantucket
20x3-. /" &<~*s^ /(Sv
In the second plane, at the left, cattle barns, stables, and the offices of an
extensive farm are assembled in a fenced enclosure. A bare rising ground
makes a line against a sky splendid with the blazonry of sunset. Across the
meadows on the right cows straggle homeward to their stalls from the pas-
ture.
Signed in full at the right. Panel.
//
I 3 H J"*
240 THE SENEY COLLECTION.
/v/r*> 215 n*~n>
EUGENE FROMENTIN
A Wind Storm on the Plains of Alfa
21KX25K
The clouds are blowing from the right in a bitter blast. In the foreground
two mounted horsemen, who have been overtaken by the tempest, shroud their
faces with their burnouses. Their horses, also aware of the coming chill, lay
their heads together. A third horseman at the left has dismounted from his
steed and turns his back to the storm.
Signed in full at the right. Canvas.
*7
216
J. C. CAZIN
La Maison du Garde
%~ . -v
From an elevation in the foreground, over which a path passes down to
the beach, the windows of the coast-guardsman's cottage of rough stone over-
look along stretch of shore and a wide expanse of sea. Solitude surrounds his
windy watching place, to which approaching night adds its measure of lone-
liness. The sunset is dying in the sky, and at the left is seen the pale crescent
of a new moon.
Signed in full at the left. Canvas.
^r /MS
/
. THIRD NIGHT'S SALE. 24 1
217 / V dr^J
JULES LEFEBVRE
Young Sappho
2I£xx6 0,
The young poetess is shown in profile, facing toward the right, at nearly
half length. She is seated in a chair, and has in her right hand a scroll. The
laurel wreath with which she has been crowned for her ode is on her dark hair,
and her face is of a very pure and sensitive type of giriish beauty.
Signed in full at the upper right. Canvas.
218
W. T. DANNAT
j ST In the Studio
20 x 33^
A maid-servant, employed in the operation generally known as house-
cleaning in an artist's studio, varies her employment by a critical inspection of
its treasures and its curiosities. The varieties of sketches and studies, bric-a-
brac and other impedimenta of the painter's workshop are rendered with close
fidelity, while the figure of the servant herself is of typical Parisian character
and pert spirit.
Signed at the left in full. Paris, '82. Canvas.
16
242 THE SENEY COLLECTION.
H1'.
219 /
ALBERTO PASINI
The Falconers
18x28 lirv^
In a marshy plain, bounded in the distance by a range of hills from right
to left, Arab cavaliers are hawking at the herons and cranes which rise in
clamorous terror from their coverts in the grassy pools. On the right the
party advances, while in the middle ground a falconer is seen giving his hawk
its cast. Fleecy clouds blow in a bright blue sky.
Signed in full at the left, 1879. Canvas.
220
F. D. MILLET
Confidences rv,J>
J ^
I ^ 24^xi6
Against the marble terrace wall of a classical garden two stately beauties
of the period are engaged in conversation. One, at the right, is attired in
white over a pink under-robe, and holds a scroll in her hand. The other wears
a similar costume of yellow and white. The pale tints and soft textures are
subtly differentiated against the marble, and the verdure of a garden shows
above the stone in the background.
Signed in full on the right. Canvas.
THIRD NIGHTS SALE. 243
21 r
221
A. H. WYANT
Sunset
^ 25% X 20
The waning- glory of the sunset is reflected down a marshy brook into the
foreground, where, at the left, a tree rears itself against the gold and crimson
of the sky. The atmosphere is suffused with the delicate and vaporous splen-
dor of the descending sun, which softens the details of the landscape into a
subtle harmony with the sky.
Signed to the left of the centre in full. Canvas.
222
*/rd
A. VOLLON
Di ■
/
Still Life
28 x 35^
A bowl of cherries on the right, in the centre a brown crockery jar. and at
the left a pewter pot and tumbler, form a group upon a table. A fresh, rich
color scheme and energetic technique characterize the work.
Signed in full on the right. Canvas.
a^ ^ °
jt/crij
244 THE SENEY COLLECTION.
223
CONSTANTINE TROYON
A Normandy Ox
f,
A powerful, reddish-brown ox, with white markings, stands in the middle
of a field, facing to the right and nearly in profile. At the left, behind the
animal, are some trees. The distance on the right is a level field. The land-
scape is low in tone, and the ox of a powerful color and massive handling.
This picture was a favorite with Troyon, who kept it until his death. It
is stamped on the left with the official stamp of the sale held after the artist's
decease, and is on canvas.
s
224
GEORGE INNESS
Moonlight in Virginia
20 x 34
}&z
At the right a negro woman is boiling water in a pot over a fire. Behind
her a man of her own race prepares a slaughtered pi^ for scalding. At the
left are some bare trees, behind which are houses, and in the middle plane ;it
the centre a cabin with a large chimney. The broad brilliancy of the full
moon on a night of late autumn gives the scene the illumination of day.
Signed in full at the right, 1884. Panel.
\\^
THIRD NIGHT'S SALE. 245
<2_r-frV
225 Jir
G. JACQUET
Su^ The Falconer
26 X 32
A young lady in the costume of the seventeenth century is seen at three-
quarter length, standing. She wears a black hat, with a beaded border to the
narrow brim, and a black feather ; a yellow dress embroidered at the bodice
with gold, and over it a jacket of pearl-gray cloth, with puffed slashes of black
and white at the shoulder, and close-fitting yellow sleeves. A black scarf is
draped in bands over the skirt of the dress. She wears a large pearl in her
ear, and a jewelled chain around her bust to carry the whistle for her falcon,
which perches on her uplifted right hand.
Signed in full at the right. Canvas.
226
ERSKINE NICOL
Jl / (TO Always Tell the Truth ,
25^ X 20 f
The grandmother, seated at a table on the right, has intermitted her knit-
ting to administer a lecture to the stubborn urchin who has been luckless
enough to be caught in a perversion of the truth. The boy stands at the left
in a decidedly impenitent attitude. The grandfather looks on and listens with
approval to the moral law which his good wife is endeavoring to inculcate.
Painted on canvas.
V
246 THE SENEY COLLECTION.
227
EASTMAN JOHNSON
%'S~0 The Pension Agent
25 x 37^
It was by this touching picture that the artist gained one of the greatest
impetuses to his well-earned reputation. The scene is in a farm-house, in the
humble room which serves at once for kitchen, family meeting place, and bed-
room for the crippled son, whose bed is seen upon the right, with his musket,
cartridge box, and canteen hanging over it on the wall. The pension agent
sits at the window in the centre. At the left are the father and mother of the
mutilated soldier, who himself stands on the right supported on a crutch, and
detailing to the agent the circumstances by which he received his injury. The
old dog of the house watches him as he speaks. His young sister, pausing in
her work of peeling apples, listens with an awe-smitten and pained face ; and
even the poor serving- woman of the farm turns her head from her duties of the
moment to hear again the simple story of the young master's sacrifice of him-
self upon the altar of his country. This thoroughly national and dramatic
composition was painted in 1867.
Signed in full at the right. Canvas.
1^
7_
THIRD NIGHT'S SALE. 247
228
EUGENE ISABEY
t
,j L S^ The Wedding Festival £
25 X 21
A bridal party descends the wainscoted staircase of an ancient chateau,
led by the bride and groom. In the foreground on the right a concert of
young girls sings, to the instrumental accompaniment of a band of musicians,
a chorus of congratulation. In the left foreground, pages in scarlet livery
guard the table spread for the wedding feast. The bride halts on the lower
platform of the staircase to receive the pleasant tribute. The guests form
a procession on the staircase behind them.
Signed on left, E. I., '74- Canvas.
229
C. F. DAUBIGNY
On the Marne
17 x 26
rn J-
The low bank bears a growth of willows. Ducks swim in the water in
the foregrouad, and at the left is a barge. The time is morning and the
season spring.
Signed at the right, Daubigny. Panel.
->
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248 THE SENEY COLLECTION.
3 4^
230
^J>
JULES DUPRE
Marine
l \ " " 23^ x 29 /
The sea of the English Channel swells in long rollers under a gray and
humid sky. In the foreground the sluggish gray-green waves break in fringes
of foam over some unseen reef. The sea reaches to the horizon, unobstructed
by a vessel, in solitary majesty.
Signed at the left in full. Canvas.
231
N. V. DIAZ
>
The Faggot Gleaner
u ;
i_j
From the right of the picture a broken and rocky path ascends toward the
left through a dense forest! The sunlight, forcing a casual passage through
the interlacing branchwork and foliage overhead, here and there glints like a
jewel upon a tree trunk or flecks the ground with a splash of gold which makes
the surrounding shadows richer, deeper, and more mysterious by the contrast.
In the foreground on the left a peasant woman, gleaning the dry brushwood
and dead fallen twigs for her humble hearth, gives the picture its title.
Signed on the left in full, 1867. Panel.
THIRD NIGHT S SALE. 249
c32
3?
232
J. B. C. COROT
The Ford
20 X 24
From the river bank at the left of the picture, which is shadowed by a
group of trees, the ford passes upward and across the stream to the right,
where are seen the walls of a water-mill on the farther bank, under some tall
trees. A man on horseback is crossing at the ford toward the mill. Executed
with a light and spirited touch, cheerful in color and airy and tender in its
atmospheric effect.
Signed on the left. Corot. Canvas.
233
CONSTANTINE TROYOX
*3% * x* /
Up the centre of the picture is a marshy creek, reddened by the setting of
the sun in a sky diversified by broken and sombre clouds. At the right tall
reeds bank the stream in. On the left a couple of trees grow upon the bank,
and under them two figures show a peasant and his wife returning to their hut,
which is shown en the extreme left.
Signed in full at the left, 1851. Panel.
3 7
250
THE SENEY COLLECTION.
HVji
234
THEODORE ROUSSEAU
Autumn
%7
&
IS X 22%
A
/v-^)
Beyond a foreground of pasturage, which is in the shadow of a cloud, a
level plain extends to a boundary of distant hills. Cattle graze upon it, and the
smoke of brush fires rises in the distance. At the left are three trees.
Signed in full at the right. Panel.
235
EUGENE DELACROIX
Tiger and Serpent
o
13 X 16
At the left, among the blades of a sword cactus, under whose green shafts
it has been sheltered, a huge serpent, aroused by a threatening sound, raises
its head to hiss defiance at its enemy. A Bengal tiger, in the centre, whose
approach has disturbed its rival outcast of the wilderness, halts with uplifted
paw and turns its savage head in the direction of the familiar challenge to
mortal combat. Its lithe flanks already quiver with the first movement for a
side spring which shall place its prey within its grasp.
From the Secretan sale, signed at the right, and painted on a panel.
THIRD NIGHT'S SALE. 25 I
JEAN FRANCOIS MILLET
^ ^^ The Apple Harvest J ^
15 X 12
In an orchard women are gathering from the ground the apples which
have been shaken from the trees. At the right foreground a robust young
peasant woman stoops to collect the fallen fruit. In the left middle plane
others pursue their work. The picture is of a low tone, rich color, and broad
but finished execution.
On canvas, and signed at the right, J. F. Millet.
237
A. G. DECAMPS
Hh
rrx
Cat, Rabbit, and Weasel
10 x 14
An illustration of a fable of La Fontaine in which the artist has combined
the expression of a story, fine animal characterization, and beautiful painting.
The cat sits in the comfortable attitude of her species on the right. The rabbit
advances with natural timidity from the left. The weasel makes his approach
out of the foreground with the impudent boldness for which these courageous
little outlaws of the farm are famous.
Signed on the left, Decamps, 1836. Canvas.
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252 THE SENEY COLLECTION.
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238
EUGENE FROMENTIN
The Return from the Chase
9,
16x13 J on/
A party of mounted Arab hunters are returning from the chase at the
approach of evening. In the middle plane at the right, cavaliers are seen in
the descent of a rocky gorge, about to cross a stream. Ascending a distant
hill in advance are other horsemen. In the immediate foreground, at the
head of the path, a huntsman on a white horse rests his steed, holding his two
hounds in leash. Another on a brown horse, behind, has dismounted.
Signed in full at the left. Canvas. From the Secretan collection.
239
G. BOLDINI
In the Garden of Versailles
1
a
20 x 13
A group of courtiers and of ladies of the court are conducting a flirtation of
compliment on one of the terraces of the chief palace of French royalty in the
last century. Their gay attire and spirits repeat the brightness and color of
nature about them, in the artist's most brilliant and sparkling touch.
Signed at the left, Boi.dini. Panel.
r^
THIRD NIGHT'S SALE. 253
7f?">
240
W. LOWITH
'.rfr
n rro
ft
8K x 13^
In the bare seclusion of the disused riding-school of a cavalry barracks
two men fight a duel with swords. Their seconds attend them, sword in hand.
At the right, three spectators look on. At the left, an officer of hussars
watches the fight seated, while the surgeon kneels to unpack his instrument
case. The furious action of the duelists and the earnest interest of the others
is admirably rendered ; the character of the figures is strong and lifelike, and
the color and painting even of the accessories is of the masterly quality
that warrants the sobriquet of the young artist as "the German Meissonier."
Signed in full, 1886. Panel.
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241
LUDWIG KNAUS
The Veteran
8^x 6
ry^ U
The head of an elderly man of a fine, soldierly type. His hair is gray.
His mustache and imperial have a military trim. His complexion shows the
good health of a well-disciplined life upon which age makes few inroads.
Signed at the upper left, L. Knaus, '89. Panel.
L
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254 THE SENEY COLLECTION.
242
C. Y. TURNER
Dreaming
7^
This picture, which is a study of Bayard Taylor's charming creation,
Hannah Thurston, shows the fair heroine at three quarter length, in profile
and facing to the right. Her figure, robed in black, with a white linen scarf
crossed over her breast, plain white linen cuffs, and a linen band to her black
cap, is relieved against a window through which is seen a garden in full
summer flower. Her left hand rests upon the window, as if about to open it,
and in her right, which depends at her side, she holds a prayer-book.
Signed in full at the right centre, and dated 1885. Painted on a panel.
243
~ ^ v-r\ Ni£ht in Flanders a
2.7 rf> vf ^ . % ^
25 X 29^
On the right are the trees of a public park ; at the left houses, along a
paved street, with lights in their windows and the transoms of their door-
ways. They are illuminated by the moon, which is not itself seen, and the
sky, which is luminous and clear, scintillates with stars.
Signed in full at the right. Canvas.
<fP-fr6 t^
S*
THIRD NIGHT S SALE.
255
^nrd
244
lisr*
G. H. BOUGHTON
Ts)
Charity
30 x 25
>
A young mother and her little girl are enjoying- an afternoon walk after a
snow-storm, warm in the rich winter garments which indicate their superior
station in life. A group of rustic children, rosy-cheeked with the cold, open a
gate for them to pass, and to the foremost of them the little girl reaches out a
coin, while the mother looks on with an approving smile. The background
shows a snowy English landscape, with the houses of a farm.
Signed in full on the left. Canvas on a panel.
245
CONSTANTINE TROYON
tff/i/0
Cows
(L
22 X It
*>
Standing, in three-quarter view and with her back to the spectator, is a red
cow with white markings. Lying down beyond her is a black cow, with a
white face, seen in profile. At the right, behind, are two others, to which the
red cow seems to be calling. The landscape is a bare plain.
Signed in full at the left. Canvas.
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256 THE SENEY COLLECTION.
246
^crt^O
j. l. g£r6me
The First Kiss of the Sun
21K x 39^
4 "2
In the foreground, at the left, the low tents of an Arab encampment have
been pitched upon a grassy oasis of the desert, where the sands are irrigated
to fruitfulness by the waters of a shallow rivulet. A few date-palms grow by
the stream at the left. The camels of the caravan, stretched upon the grass
around the camp, where their masters still sleep, raise their heads, in an in-
stinctive accord, at the coming of another day of toilsome servitude. Across
the sky, the outline of the desert is broken by the towering bulks of a line
of pyramids, which diminish in perspective from the right to the left ; and in
the arid space between this horizon line and the camp, the Sphinx, that in-
soluble mystery of the desert, is faintly seen, rearing her head from her grave
of sand. The sky is one serenity of cloudless blue, in which the shadow of the
night still lingers. The same shade hangs over all the earth, in a veil that
gives its outlines a tender softness. On the eastern faces of the two great
pyramids alone does the eternal supremacy of the orb, that has looked upon
the life and death of this lost empire of the past as it has looked on those of
worlds unknown, set its brand of power. Reddened by the first kiss of the
sun which warmed the babyhood of the monarchs they entomb, the sepulchres
of the Pharaohs make two great beacons against the sky, as if they, too, were
about to blaze out and leave the sterile wastes and ruins at their feet to the
darkness that enshrouds their own history.
Signed at the right, J. L. G6r6me. Painted on canvas.
1 m >
i y
THIRD NIGHTS SALE. 257
9*7?r 247 7bW
GEORGE INNESS
The Evening Glow
c
9
27 X 22
/'
The sun, a huge disk of fire, is setting at the right, seen through the out-
skirt of a wood. Its fiery beams penetrate the foreground and light the foli-
age and underbrush with flashes of color. At the right, in the foreground, a
tree which bends to the left rises out of a tangled thicket.
Signed in full at the right, 1885. Panel.
248
ADOLPHE SCHREYER
%^0 A The Contrabandist
32 x 25
tn>
Down a rocky and dangerous mountain side, made more dangerous by
snow-drifts and the driving storm, a mounted smuggler carefully leads his
pack-horse, laden with contraband wares. Both horses pick their way care-
fully over the perilous declivity. The mountain slope is covered with a scatter-
ing growth of trees, stunted and warped by the blasts and covered with snow.
Signed in full on the right. Canvas.
17
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258 THE SENEY COLLECTION.
; • 1
V
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HP
249
H. LEROLLE
The Homeward Path
32 x 25
A shepherd girl is returning from the grazing ground under escort of her
faithful dog. She climbs the road toward the village, staff in hand. The
moon is rising over a slope which is crowned on the left by a house, in one of
whose windows a light shows. At the right a fence closes off a field path from
the road, and a few slender saplings grow by the roadside. The distant village
is dimly discernible, with a figure or two returning homeward in the middle
ground. The dog looks with a watchful eye at these personages, as if for
assurance of his mistress's safety against them, while the shepherdess plods
steadily along, weary of her day's monotonous labor and happy at the prospect
of rest.
Signed on the right in full. Canvas.
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1
THIRD NIGHT'S SALE. 259
p. If*
? 3~
/z £
250
LUDWIG KNAUS
1/ — 7 /
The Old" Witch
28K X 41K
^<?vJ
On the outskirts of a village, the children returning from school are hoot-
ing and stoning a wretched old woman who appears in the middle ground,
bent and haggard with age, advancing with a staff in her hand and smoking a
pipe. One boy is about to hurl a stone at her, others shout abuse, while
smaller children fly in terror before her malignant approach. She presents a
determined and even combative aspect, as if accustomed to the ill will she
receives and defiant of it. As if to typify the ignorance out of which arises the
superstition of which she is the victim, and to symbolize the violence to which
it leads, a tempest is rising in the angry sky, and the shadow of its approach
darkens over the young persecutors of hopeless misery and their prey. It is
said that this picture had a distinct effect in the more ignorant German com-
munities in compelling government protection for those unhappy creatures on
whom a debased superstition set its ban.
Signed at the right, L. Knaus, 1885. Canvas.
00O
26o THE SENEY COLLECTION.
251
CHARLES C. JACQUE
°- The Shepherd
19^ x 46
A flock of sheep are crossing an extensive plain, passing from the left to
the right. The shepherd with his dog are on the right. The background
affords a perfect panorama of rustic employments : a plowman is at work,
weeds are being burned, a stage-coach comes along the high road, and farms
and a village arc seen.
Painted on a panel, and at the right written, in French, in ink : " I certify
that this picture is by me. It was painted about 1856. Paris, 1886, Ch. Jacque."
252
ALFRED STEVENS
The Departure ,
36J4 x 29
In the foreground, at full length, a lady in a summer costume of red and
white is shown upon the beach, looking out to sea. She rests her hand upon
a red umbrella, and follows a receding ship intently with her eyes. At the
right figures sit upon a breakwater which has been left bare by the receding
tide.
Signed in full at the left, Havre, 1834. Canvas.
THIRD NIGHT'S SALE. 26 1
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T*
WILLIAM M. CHASE
^ In the Studio
39 X 22^
A young Jady, dressed in white, is seated in an arm-chair in front of a
wall set off with pictures, draperies, and a shelf loaded with curious bric-a-
brac.
Executed in pastel, and signed on the left in full.
254
CARL VON STETTEN
-
$~(fX) The Image Seller /
28x35
An Italian vender of plaster images has set his wares up for sale on one of
the bridges crossing the Seine. A portion of his stock is displayed on the
balustrade against which he leans. His extra supply is packed in a wicker
basket on the footway at the right of the picture. On the left the base of a
bronze lamp shows. A steamboat, passing on the river, is seen through the
balustrade, and in the distance the towers of the Trocadero are outlined
against the gray sky of a Parisian autumn or spring.
Signed on the right in full, 1887.
nH>"*r en J
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262 THE SENEY COLLECTION.
•
255
GEORGE FULLER
JtJ Fedatoa _ ^
42 X 30
She is seen at three-quarter length, in the size of life, holding a necklace
of jewels in her hands which she has just been examining. Other jewels are
on a table at her right. She wears a robe of white, filmy stuff, with a black
veil or scarf draped over her head, and her figure is relieved against a dark
background of indefinite character. Her face is young, innocent, and flushed
with health, and, like her bare arms, is exquisitely modelled.
Painted on canvas.
THIRD NIGHT'S SALE. 263
256
<h? 7 *■
EUGENE DELACROIX
I
£>/ ^i> Selim and Zuleilca
Delacroix, who as an artist had much in him that inclined him to
sympathy with the romantic movement in French and English literature, and
especially poetry, drew out of Byron the subjects of several of his best
pictures. The most famous of these is the incarnation he gave to the dramatic
and noble passage from " The Bride of Abydos,'1 which is immortal in the
records of French art under the title of " Selim and Zuleika. "' The moment
chosen by the artist is covered by the XXIId and XXIIId stanzas of the poem,
when the lovers in the grotto are pursued and menaced with a cruel death.
The exact passage that Delacroix meant to illustrate is undoubtedly this :
Dauntless he stood. " 'Tis come, soon past-
One kiss, Zuleika; 'tis my last."
The picture shows Zuleika clinging to Selim in the cavern, while their
enemies approach. The composition is full of spirit, expression, and vital fire,
and of a noble harmony and richness of color. It is one of the artist's later and
more thoughtful works, and shows how closely he must have studied even the
literature of an alien nation.
Painted on panel. Signed in full on the right.
„,\*»~ ^°
264 THE SENEY COLLECTION.
/ 2-M 257 '
C. F. DAUBIGNY
Spring
0
. 1, tsO
I l<fo
^Im> f-^lyO
10 x 17
Young trees in the full greenery of spring crown the river bank at the left.
The bank, clothed in grass, descends to the river, in which ducks paddle. Be-
yond the bank at the right is a distance of low, rolling hills. The verdure has
all the abundance and fresh, crisp color of the season, and the sky is warm in
subtle flushes of the light of early day.
Signed at the left, Daubigny. Panel.
258
CONSTANTINK TROYON
QUTt) The °ld Farm _£>
I
11 x z6Y2 /y^ WA
On the right is a portion of an old French farm-house, viewed from its
orchard and kitchen garden. A pool of water is in the foreground. At the
right a figure is about to enter the house, and on the left another, carrying a
bundle of firewood, ascends the steps leading to the kitchen of the farm.
Midsummer brightness is mirrored in the sky and indicated in the luxuriant
vegetation.
Signed in full at the left. Panel.
<r
THIRD NIGHT'S SALE. 265
/ 1 r ft
259
THEODORE ROUSSEAU
z The Pasturage
A stream intersects the centre of the picture and is crossed by a bridge.
At the left is a tree, and cows graze on the plain. Houses are visible at the
right, and an extensive prospect of pasture-land, rich in succulent vegetation,
stretches into the distance. Painted in a ripe harmony of color, and with much
solidity and force.
Signed at the left, Th. Rousseau. Panel.
1~"
260
N. V. DIAZ
In the Forest
13 x- '*
Early autumn has commenced to give to nature the warm flush that pre-
cedes the bitter barrenness of winter. The trees are still in full foliage, and
the turf is rich and strong. Only a few leaves have fallen from the tree in the
centre of the canvas. At the left is the figure of a girl.
Signed in full at the left. Canvas.
?•'
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266 THE SENEY COLLECTION.
26l
J. B. C. COROT
The Fisherman : Morning
3 &5T0 o §<mJ
A fisherman in the foreground is about to set out in his boat in the early
morning. His craft is moored in the rushy shallows of a little creek under a
willow bank. The mists of dawn still veil the distance. One of the Hundred
Masterpieces exhibited in Paris, 1883.
Signed at the left, Corot. Canvas.
262
J. C. CAZIN
1 Moonlight in Holland .^~ <*--)
25K x 32
At the right, the snug little houses of a prosperous Dutch fishing village
face a neatly paved street. Here and there among them a window is still
lighted. They front a dyke, overgrown with grass and planted with trees,
at the left of which is seen the sea. In the middle ground a turning of the
shore shows a row of fish-houses and the slope of the dyke, on which are many
boats which have been beached for the night. The scene is lighted by the tem-
pered brightness of a summer moon.
Signed in full at the left. Canvas.
I
THIRD NIGHT'S SALE. 267
G. H. BOUGHTON
, The Council of Peter the Headstrong
25x30 /?
Standing in the middle of his counsellors, in the council chamber, the
doughty and stubborn Dutchman lays down the law. Seated along the council
board, they listen, argue on, and dispute his dogmatic statements with various
expressions. The room is lighted from a window of colored glass on the right,
and at the left is a lofty chimney-piece, with some law-books on its shelf.
Signed in full at the top, to the right of centre. Date, 1887. Canvas
backed with panel.
264
ALEXIS HARLAMOFF
^ -Z t Is The Flower Girl
7-
34 x 20
A gipsy girl, herself a true wildwood blossom, has been gathering the
humble flowers of the forest. Bare-footed, bare-headed, with her poor gar-
ments barely covering her body, she is a picture of hardy beauty tanned by
the fresh air and the sun. She is about to cross a stream.
Signed at the right, Harlamoff. Canvas.
M'7"^' / u(o
268 THE SENEY COLLECTION.
I 7"J 265
••
vt
H. LEROLLE
Gossip
32 x 26
;
In an interior brilliantly dominated with sunlight through a window on the
left, two ladies sit in conversation at a table, while a third is seated at the left
against the light and with her back to the spectator. The picture is a daring
and successful experiment in light tints, and whites in full light and shadow.
Signed at the right, Lerolle. Canvas.
266
JOSEF ISRAELS
Jro<s<>
^1 i\m^ ^
When One Grows Old <3(J*v
/'X23^
Over the glimmering lire of turf a woman, so old that she can scarcely lift
her palsied hands to the welcome warmth, sits in a low-seated chair. She has
passed even the capacity for the lightest labor, and, like the decaying fire, is
left to smoulder out, while the whole family, young and old, still toil to add
each his or her share to the income of the house. This picture is regarded by
the art 1st as one of his foremost works.
Signed in full on the right. Canvas.
THIRD NIGHT'S SALE. 269
267
SIR J. E. MILLAIS
The Love-bird /O i r
36lA X 25K
A little girl stands erect, her figure turned to the left, and her face look-
ing forward at the spectator. Her brown hair falls over her back from
under a lace cap, and the neck of her gown of flowered brocade is edged with
lace. Her left hand depends at her side. On her right, which is uplifted,
is perched a paroquette, of the species known as love-birds. The background
is a rich old tapestry
Signed in monogram at the right and dated 1883. Canvas.
268
JULES DUPRE
At Sea
;jd
32 x 39*A
The sky is filled with clouds which are rolled into heavy masses by the
wind. In the centre a boat with sails struggles against the rising gale, and
another sail is seen on the horizon toward the right. The sea is comparatively
quiet, but announces its growing agitation in the foam-fringed waves which
break in lines of short rollers across the foreground.
Signed in full at the left. Canvas.
)S
L^O0 / (*\$
270 THE SENEY COLLECTION.
~
269
CONSTANTINE TROYON
Summer-time
20 V> x 30
JJS*
A vast and verdant champaign extends under a sinking summer sky. It
is intersected in the centre of the canvas by a little rivulet, walled in with turfy
banks. In the middle ground the brook is shadowed by a bosquet of willow-
trees, and some women are washing clothes upon its bank. In the spacious
meadow-lands at the right grazing cattle are seen. The distance is diversified
by trees, in scattered clumps and singly. The blue sky is brightened by fleecy
clouds.
Signed in full at the left. Canvas.
>
°
THIRD NIGHT'S SALE. 2yi
/ ^ 27o fio-rro
X. V. DIAZ
The Virgin and Child
?L ■
Co-.'
40 X 24
Seated in the centre is a charming type of pure womanhood, attired in a
red and blue robe with white linen draperies to relieve it. She sustains upon
her knee a chubby little boy, who, with a touching grace, reaches out his hand
in love and charity to a pool little bird that chirps a greeting to him from the
ground at the left. Above this beautiful group hover some cherubim, and the
background is a forest.
This picture, it is to be noted, is one of which Diaz was especially fond. It
served with him to commemorate his love for his wife and'the death of his son,
which nearly broke his strong and ardent heart. He was frequently requested
to paint altar-pieces, but almost invariably refused to do so. He said : "I
have only one true altar-piece in my mind, and that belongs to the chapel of
my heart." This picture was known to many of his friends. Into what direc-
tion it drifted after his death was not known. Mr. Seney's purchase of it was
purely accidental. The charm of the picture attracted him, and he knew
nothing of its history at the time. He bought it as a magnificent work of art,
and only later learned of its peculiarly interesting associations.
Signed at the left, N. Diaz. '52. Canvas.
■tP ,u.
272 THE SENEY COLLECTION.
271 / •
CHARLES H. DAVIS
The Curfew
29 X 46
The Curfew i
cw
10
" Now fades the glimmering landscape on the sight,
And all the air a solemn stillness holds,
Save where the beetle wheels his droning flight,
And drowsy tinklings lull the distant folds."
Mr. Davis has illustrated this verse of the elegant Mr. Gray's kl Elegy in a
Country Churchyard " with a landscape which is going to sleep in the last
light of day. The sun has descended, but radiates its fading glow from the
centre of the picture.
Signed in full at the left. Dated 1884. Canvas.
272
J. C. CAZIN
The Village Orchard
32 x 39K
|T»
32 x 39K 1
At the right of the foreground is seen a patch of road. From it. to the
middle plane extends a stretch of land which has been plowed for cultivation.
Beyond this field arc a row of fruit trees and the houses of a village, behind
which, on the right, some poplar trees show.
Signed in full at the left. Canvas.
(A)
THIRD NIGHT'S SALE. 273
nO:(
273
ROSA BONHEUR
tff
The Choice of the Flock
^ ha y r/W
32 x 40
V
A beautiful white ewe, with silky fleece, stands in the foreground facing
toward the right and seen in profile. Another sheep is seen behind, and the
trunk of a tree shows upon the left. In the middle distance on the right a
group of sheep browse, and a pleasant landscape of rolling ground and shrub-
bery forms the distance.
Signed in full on the right. Canvas.
274
A. EDELFELDT
Lydia and Horace
44 x 28
Lydia is seated on a marble garden seat in the centre. She wears a
peplumof pale yellow color, and gold ornaments, and is of the voluptuous type
of merry womanhood that the poet describes in his odes to her. Leaning over
the back of the seat at the right is Horace himself. His cynical but good-
humored face smiles as he utters epigrams at which Lydia laughs.
Signed in full at the right, 1888. Canvas.
18
274 THE SENEY COLLECTION.
J 7 275
/ 3<
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J. L. E. MEISSONIER
Deliberation
zoy2 x i?*4
//.<M
Facing toward the left and seen at full length, a powerful man, in costume
of the fifteenth century, stands erect at a closed door leading from an ante-
chamber into a more private apartment. His heavy sword is shortened at its
hangers, as if to be ready to his hand. His brooding and thoughtful face, the
typical face of the s/>acfassin, is bent forward, and his eyes are on the ground.
Signed at the right, E. Meissonier. Panel.
276
CONSTANTINE TROYON
Sheep in a Forest
18 x 14
6 c^
In the foreground a flock of sheep are advancing, driven by a shepherd.
The path enters a forest and the ground is covered with withered leaves. The
sunlight, through a break in the foliage, lights the leaders of the flock. The
background, seen through a vista of the trees, is an open country, under a
tempestuous sky, with the light concentrated in its centre.
Signed at the left. C. Tkoyon, 1849. Panel. From the Collot and Faurc
collections and the Secretan sale, 1889.
(A)
THIRD NIGHT'S SALE. 275
277
L J. B. C. COROT
lj 5.ro
The Myrtle Wreath ^^v'
22 x 18
An Italian girl, seen at half length and in characteristic national costume,
is seated in the shade of a myrtle thicket in a garden. The wreath which she
has been weaving lies in her lap, and she looks up as if at the interruption of
an approaching step. As in all of Corot's figure pictures, this shows fine
drawing and color, good character, and a firm technique.
Signed at the right, Cokot. Canvas. .
278
EUGENE FROMENTIN
On the Alert
24x16^
x.
A body of Arabian cavalry advance from the left over descending ground,
with a higher hill behind them. One bears a standard. A cavalier leads the
cavalcade at the right, watchful of the advance into a country beset with
enemies.
Signed in full at the left. Canvas.
276 THE SENEY COLLECTION.
279
C. F. DAUBIGNY
*\~Cr*sO Landscape with Cattle
18K x 26
&yf
In the centre of the middle ground, on the bank of a little river, is a clump
of willow trees. At the left, beyond the river, a road passes from left to right.
A grove and hills close in the horizon. The water, coming into the foreground
between grassy banks and patches of sedge, reflects, in its unshadowed sur-
faces, the brightness of the midsummer sky.
Signed on the left^DAumGNY. Canvas.
280
N. V. DIAZ
^fnj In the Pyrenees ^
i6xn
■
One of if riot actually the latest complete picture of the artist, painted at
the period when his growing ill health caused him to spend much of his time
in the milder climate of the south of France, with excursions into the moun-
tains when the weather was favorable. The long and craggy range of the
mountains which divide France from Spain forms the background, with an
expansive landscape between them and the spectator, diversified by trees.
Signed in full at the left, '74. Panel.
\o.£^ i n>
THIRD NIGHT'S SALE. 277
C^5 281 / ~?
H
J. B. C. COROT
A Souvenir of Normandy
17 x 25
^
At the marge of a placid stream, a grove of willows suck their sustenance
from the refreshing flood. The foreground, enriched by the penetrating hu-
midity of the river, is ripe in grass enamelled with wild flowers, from which a
country girl at the right of the picture is plucking the material for a rustic
bouquet. In the distance a fishing village is seen.
Signed at the left, Cokot. Canvas.
282
N. V. DIAZ
Sunset after a Storm
The sky is clearing, after a heavy rain-storm, over the plains of Barbizon.
At the left a shepherd drives his flock across the plain. The crimson sunset is
dimly reflected in a pool in the foreground. The sun shows as a red disk in
the clouds. Some trees diversify the plain, and in the distance the border of
the forest is seen across the horizon.
Sigmed in full at the right, N. Diaz, '64. Panel.
. I
lb1
/ncn
278 THE SENEY COLLECTION.
/7 2*3 jrjtro
C. F. DAUBIGNY
The Gipsies
/ V / - 2.C/'
10^ x 19 .
In the centre is a little group of fruit trees. Under it a male and female
gipsy make their camp, while their donkey watches them. A road passes the
group, leading to a farm whose roof is seen at the left behind fruit trees. On
the right a grassy stretch of pasture is bounded by an orchard. The time is
spring, as the blossoms on the fruit trees indicate.
Signed at the left, Daubigny, 1869. Tanel.
284
CONSTANTINE TROYON
The Shepherd )
4 2lJ*Xl8l
8
In the foreground, the shepherd is marshalling his flock into the forest.
His dog is beside him on the right. He wears his cloak over his left shoulder
and carries his heavy staff under his right arm. In the background the path
passes out through the outskirt of the forest. A warm and powerfully har-
monious color, the most solid quality and great vigor of execution, character-
ize this work.
Signed on the left in full. Panel.
\'v |U.c"
THIRD NIGHT'S SALE. 279
^
285
J. B. C. COROT
1
<L^-> >>->- <" >
/tA>
The Dance of the Nymphs
19 X 26^
The fair divinities of the sylvan shades make their worship of tlT3 dawn
at the verge of an Arcadian grove. On the left is a clump of graceful yet
stately trees, which are repeated by others in single growth toward the right.
In the middle of the picture, some nymphs dance in groups under the trees,
while from the left two others, belated by oversleeping, as it might be, hasten
to join in the measure. A lake and distant hills are seen through the tree
trunks toward the right, and the sky shows the pulsating luminosity of com-
ing day, into which the sun will presently send its piercing shafts of opal-
escent flame. A tender shade of morning twilight still enriches the color of
the foreground without darkening it. At the extreme right, among the trees,
a solitary nymph is seen, saluting the dawn with a chalice filled with morning
dew, as the laws of the golden age prescribe, in her hand.
The picture is signed at the right, Corot, and is painted on canvas.
vth. n y
/^
-i
280 THE SENEY COLLECTION.
^tc 286
C. F. DAUBIGNY
Autumn on the Oise
T
A boat is moored to a bushy, sloping bank on the right, with a figure in it
and one upon the shore. This bank makes a point in the middle ground
around which the river disappears. The farther bank, on the left, is shadowed
by tall trees.
Signed on right, Daumgny, 1873. Canvas.
287
J. C. CAZIN
Weary Wayfarers
Night is approaching, and rain clouds arc darkening the sky. The farmer,
in the middle ground on the right, is completing the labors of the day. On the
windy heath in the foreground, in the centre, a poor wandering woman sits,
with her babe in her lap, while at her feet, stretched on the turf, her husband
sleeps the sleep of exhaustion. Cazin, who paints the figure with great force
when he chooses, here introduces it, as he rarely does in his landscapes, with
pointed effect.
Signed at the right, J, C. Cazin, 1888. Canvas.
lA
7>^
THIRD NIGHT'S SALE. 28 1
^t-o'i 288 f? I ,
C. F. DAUBIGNY
^The Creek
In a winding crecK, bordered by willow trees, a fisherman is preparing in
his boat for the labor of the day. The landscape, with its scattered trees,
placid water, and rushy banks, is seen in the harmonizing light of a morning
sky.
Signed at the left, Daubigny, 1853. Panel.
289
J. B. C. COROT
La Cueillette
■ < J(
z%y2 x 19
At the margin of a grove of birches and maples, two village girls are gath-
ering wild flowers. A third comes to join them through an opening in the
grove, beyond which is seen a placid little lake and its verdant farther banks,
with white-walled country houses. The time is early summer, the vegetation
is full of refreshing vitality, and the sky gleams with light not yet invaded by
the exhausting fervor of the burning sun.
Signed at the right. Cokot. Canvas.
/ 7
282 THE SENEY COLLECTION.
( 7 (> ?"
Si/*.-
290
JOSE DE VILLEGAS
The Halberdier
37K x 23^2'
At the left centre, bolt upright and facing to the right, a gorgeously uni-
formed veteran of the early seventeenth century stands guard in a splendid
ante-chamber. He is seen in profile, holding a halbert whose staff is covered
with crimson velvet and studded with gilt nails. He wears a black hat with
variegated feathers, a fringed buff coat with green plush sleeves, knee breeches
of claret-colored velvet, and blue stockings. Embroidery and ornaments of
gold and silver make his variegated attire more splendid. A sword belt crosses
his coat and sustains a heavy sword. Behind him a magnificent oriental rug
forms the portiere of the doorway he is set to guard, and his evidently confi-
dential friend, a yellow hound, looks up to him, at the right, with privileged
familiarity. The artist seems to have essayed in this picture to bring every
brilliant note of color of which the palette is productive into harmonious appli
cation, and to have succeeded.
Signed in full at the left, and dated 1875. Painted on canvas.
THIRD NIGHT'S SALE. 283
%HT\/<*> 2gi
A. MAUVE
ja;
Crepuscule
26 X I&
'
A shepherd drives his flock along a road, which rises in the centre of the
picture, returning to the fold at the close of day. The pale light of a wet sun-
set illuminates the centre of a sky in which rainy clouds are rifted by the rising
wind. A clump of trees at the right are outlined in silhouette against the sky.
Painted on canvas and signed in full at the right.
292
JULES DUPRE
Sunset
29K x 37K
At a pool in the foreground some cows are drinking. On the left, beyond
the pond, is a group of oak trees. A cow is being driven by a man from a barn
in the right middle ground, which slopes upward from the water, toward the
pool. In the centre the farm-house, on the summit of the slope, shows in
shadow against the splendor of the sunset, which pervades the whole picture
with a rich and luminous glow of color.
Signed in full at the right. Canvas.
3UT7
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/p?
/ cm
284 THE SENEY COLLECTION.
% 393 (P?/^
JULES DUPRE
Moonlight
38 x 33K
The light of the rising summer moon silvers the surface of a stream in the
foreground, whose waters are otherwise shadowed by a group of large trees
on the right. At the left some small willow trees grow on a little islet. The
figure of a fish poacher in his boat is revealed in the moonlight, but the perfect
solitude and repose of the night holds no threat of discovery for him.
Signed in full at the left. Canvas.
294
N. V. DIAZ
The Approaching Storm
7»n.| 33x41^
In the middle of a foreground, whose turf is broken by outcroppings of
rock, is a shallow pool. A tree is on the ri^lit . Among the rocks a figure is
visible. The approach of the storm is manifest in a sky tilled with tumultuous
clouds, whose shadows rest upon the darkening landscape and render its savage
picturesqueness doubly picturesque.
Signed on the left. N Diaz, '70. Canvas. (
£9-0>°
THIRD NIGHT'S SALE. 285
295
CONSTANTINE TROYON
f% Hounds ^ .
38 x 51 ^\ \/
Two massive and powerful hounds are eagerly seeking along a field for
the scent of their quarry, which they have lost. The dogs are painted in the
dimensions of life, and exhibit in a wonderful degree the movement and spirit
of nature. They are seen in a simple landscape, held low in tone and rich in
color, and which affords them a vivid relief, and their execution dates from
the artist's most masterly period of productiveness. Troyon, as a painter of
dogs, is held to be at his best. He once said of this picture : " It is a portrait
of two of the few true fronds I have ever had."
Signed in full at the left. Canvas.
286 THE SENEY COLLECTION.
yC(
3->L/,£>yO
296
JEAN FRANCOIS MILLET
J/o.raO
Waiting
X47
c^CjW
It is the long-absent son that these two poor old people ever seek in their
waking moments and in their dreams. As the day dies, the aged mother comes
forth to scan the deserted road, shading her eyes against even the dull sunset.
The father, whose staff must do him duty for his eyes, gropes his blind way after
her, feeling step by step for the door-stone that his weary feet have trodden so
often during a life of labor, trouble, and faith. He stands in the doorway of
the cottage at the right, feeling for his next step. His wife, inspired to hope
by some passing sound, is already in the road, eager and alert. On the seat
beside the door the cat, herself startled by some unusual sound, bristles her fur
and stands on the defensive. This picture, known first by Millet's own title
" Waiting,' ' but also frequently called "The Blind Tobias," is ranked by the
permanent judgment of criticism in the loftiest vein of feeling which the artist
has expressed in his works. He himself classed it with " The Angelus," and
its simple and sincere religious feeling caused it to be accepted as a companion
to this masterpiece.
Signed in full on the right. Canvas.
3 T-6; )'^
THIRD NIGHT'S SALE. 287
I7,u^r° 297 zq.
it^
JEAN PAUL LAURENS
The Separation
47 x 37
This picture represents the final separation of Robert II., called the Pious,
son of Hugh Capet, and King of France from 996 to 1031, from his wife Bertha.
The king is seen in the middle ground, bowed in prayer and despair on the
double throne which his wife has abandoned, leaving on it her splendid royal
mantle and her crown. Bertha, passing out of the throne room through a cur-
tained archway, appears in the foreground in the ante-chamber on the left.
Signed in full on the right. Canvas.
¥
298
JOSEF ISRAELS
Infancy and Age ^^
48x58
n.
Toward the right, in a humble interior of modern Holland, a lusty baby is
seated in its tall, antiquely carved chair, in which, no doubt, many generations
of babies have been propped up. Facing it, at the left, a weather-beaten old
fisherman engages his grandchild's attention by showing a toy soldier.
Signed in full at the right. Canvas.
0 ^
288 THE SENEY COLLECTION.
3£&" 2"
J. A. GRISON
2,2-6
6 J
Retribution
, /£> / tr
&% x 35I «
A youngster who has been birds' nesting is now propped up in a chair in
grandmother's kitchen, suffering the consequences of his crime. The hurts
occasioned by his fall have been bandaged up, and the old doctor is giving
him a severe lecture, to which his grandmother listens with clasped hands.
Signed at the right, Grison. Canvas.
300
ADOLPHE SCHREYER
The Wallachian Post-Carriza
47x73
The post-wagon is being urged at furious speed over the Wallachian
wastes to escape the storm which is rising. The wagon, covered with a
woven-wicker hood, is seen at the right. It is drawn by a team of six horses,
four of which are harnessed in tandem to a shaft. The postilion, in rude
native costume, rides one of the shaft horses, and urges the leaders forward
with voice and whip in violent objurgation. A passenger is seen in the post-
wagon.
Signed in full at the right and painted on canvas.
1 ° >
THIRD NIGHT'S SALE. 289
3lUTb 301 2 3ZJ
LUDWIG KNAUS
J 0. Wl> The Child's Funeral *
54 X76
Borne upon the shoulders of its playmates, the coffined remains of a little
child are being conveyed to their last resting-place. The procession passes
through a forest where autumn leaves are on the trees and on the ground. A
boy marches in advance bearing a crucifix. Other children follow, singing a
hymn as they go, under the direction of the village schoolmaster. The elders
of the bereaved family bring up the rear of the sad cortege.
Signed in full at the right, 1856. Canvas.
302
J. BENLLIURE
v Christmas Eve
33% x 59
The services of the great day of the year are in progress in a Spanish
cathedral. At the left, through the grated gateway, the nave of the church is
seen, splendid with lights, and animated by the services of the hour. In the
foreground the humbler devotees of the church approach the altar for their
annual devotion. A band plays on its instruments, and boy choristers sing in
the centre, under the direction of an old music master.
Signed at the right in full. Canvas.
*>
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290 THE SENEY COLLECTION.
L/&6 303 2+w(**J
H. SALMSON
Coming from the Hay-field
115°
40 x 54
J J *0
A family group are returning from the field at the end of their aay's wo "k.
The young mother wheels a barrow filled with grass for the household ani-
mals, on which a little girl rides. Another child marches beside its mother,
and behind her comes the father, who, with his scythe over his shoulder, looks
back as if to take a last survey of the results of his day's toil.
Signed in full on the left. Canvas.
304
J. B. BURGESS
The Frolic after the Wedding
J • tip)
48 x 75
The bride and groom are seen in the centre at the portal of a Spanish
church. Their friends overwhelm them with chaff and congratulations, beg-
gars appeal to them for a share of their good luck, and in the foreground boys
scramble on the- pavement for the coppers tossed broadcast by the happy bride-
groom.
Signed in full at the right, 1884. Canvas.
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THIRD NIGHT S SALE. 29I
jyW* <^C2,9)?>
305
JULIUS L. STEWART
The Hunt Ball
/ 45 * 79
It was this picture which attracted to the artist, already well-known as
a man of great gifts and ability, the attention of all Paris at the Salon of 1885.
The previous year had witnessed the exhibition of his " Five O'Clock Tea,"
another picture of fashionable life of great brilliancy of style, but the " Hunt
Ball" was a much more exacting and difficult subject, completely mastered.
It shows the cotillon in progress at a country house, the men in their costumes
of the chase as far as their red coats are concerned, and the ladies in full dress.
The dance proceeds with great animation and spirit, directed by a leader who
marks the time with taps upon a tambourine. Guests sit around in conversa-
tion, and the whole composition, which is filled with portraits of friends of the
artist, is a remarkably realistic yet thoroughly artistic transcription of actual
life in the higher circles of French society.
Signed in full at the left, Paris, 1885. Canvas.
c>"°
3>i
292 THE SENEY COLLECTION.
I™
L&lhf)' ^
306
E. VAN MARCKE
V*
Rich Pasturage
39 X 55
A great drove of cattle are scattered over a wide and luxuriant pasturage,
enjoying its profusion of succulent provender. The country has the aspect of
an alluvial land, whose soil is perpetually enriched and rendered fruitful by
moisture. In the foreground, cows and calves graze and drink about and at a
pool, and at the left are the stately outriders of a grove of tall trees. On the
plain behind, cattle feed in groups and singly, and over the hills that form the
horizon roll the cool and bright clouds of autumn. Fine composition, rich
color, and a brilliant effect make the picture well worthy of its title.
The death of the artist has been recently announced. He had been a sufferer
from nervous exhaustion for some years and had produced little. With him
passes away the last of the cattle-painting masters of the Troyon school, of
which master he was a firofe^e^nd. pupil.
Signed in full at the right, 1870. Canvas.
L « <>**
..y.
THIRD NIGHTS SALE. 293
j --. ibjf
307
EUGENE ISABEY
ft. </<
%
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St. Hubert's Day
66 X 49
Upon the chosen day of the year for the good saint who keeps those
huntsmen who do their duties by him sane, sound, and in good fortune, and
who does not forget their gallant coursers or their faithful hounds, the dogs
are being brought to the church door to be blessed. The church, a structure
of the Gothic period, with many picturesque variations of the bulk of its
architecture, occupies the right of the composition. Its portal has been hung
with the richest draperies from the altar. The choristers chant their hymn to
St. Hubert on the steps, the incense burns in the censers, and a gallant
company of ladies and gentlemen gather to watch the venerable father of the
flock bestow the annual benediction on the hounds. The whole lett fore-
ground is filled with the baying packs of the cavaliers, who sit on horseback in
the open square in front of the church, with many ladies in even more sump-
tuous attire among them. Stalwart huntsmen restrain the dogs in leashes.
At the left, children of the townsmen, frightened by the clamor of the excited
brutes, seek protection of their oarents. Behind, in the street of the town,
whose roofs make battlements against the breezy sky, a mob of curious prole-
tarians look on while the holy water is scattered from the church-step upon the
clamorous packs.
This masterpiece is painted on a panel, and signed at the right. E. Isa
AMERICAN ART ASSOCIATION. 2^7
Man \ 5ek:
^
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SPECIAL NOTICE.
I2>
Y the courtesy of Mr. George I. Seney and The
American Art Association, Managers,
Issued Tuesday, January 27th, 1891,
will contain about
FORTY ILLUSTRATIONS
of some of
THE MASTERPIECES
included in
THE SENEY COLLECTION.
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